THE  LIBRARY 

OF 

THE  UNIVERSITY 

OF  CALIFORNIA 

LOS  ANGELES 


The  Club  of  Odd  Volumes 

50  MOUNT  VERNON  STREET 

BOSTON 


EXHIBITION 

OF  PRINTS  AND   PLAYBILLS  TO  ILLUSTRATE 
THE 

Hiftory  of  the  Bofton  Stage 


1825  TO  1850 


From  the  collection   of  Mr.  ROBERT   GoULD   SHAW 


MAY  3  TO  MAY  8 
1915 


Digitized  by  the  Internet  Archive 

in  2008  with  funding  from 

IVIicrosoft  Corporation 


http://www.archive.org/details/exhibitionofprinOOclub 


NOTE 

In  presenting  this  Selection  of  Portraits,  Playbills,  etc.,  lack 
of  space  has  prevented  the  exhibition  of  many  items  of  im- 
portance that  belong  to  the  period  shown,  viz.:  1825  to  1850. 

The  dates  cannot  be  absolutely  guaranteed,  as  the  only 
sources  available  are  frequently  at  variance.  Most  of  the 
dates  are  taken  from  Clapp's  "History  of  the  Boston  Stage;" 
Ireland's  "Records  of  the  New  York  Stage;"  Phelps'  "Players 
of  a  Century,"  etc.;  and  the  dates  of  playbills  in  Mr.  Shaw's 
collection. 

In  a  general  way,  the  exhibits  are  arranged  chronologically, 
commencing  with  No.  1  of  the  Catalogue. 


78S3630 


EXHIBITS 


1.  PELBY  (Mrs.)     Portrait,  as  Cherry.    D.  C.  Johnston 

del.     Lith.  of  Pendleton. 
Lithograph. 

She  was  born  at  Kinderhook,  New  York,  in  1793,  and  made 
her  debut  at  the  Federal  Street  Theatre,  Boston,  in  1813,  as 
Miss  Mortimer  in  "Laugh  When  You  Can."  In  May,  1825, 
she  was  a  member  of  Price  and  Simpson's  traveling  dramatic 
and  equestrian  company,  at  the  Broadway  Circus,  New  York. 
In  1825-6,  she  played  at  the  Lafayette  Amphitheatre;  also 
at  the  Park,  Bowery  and  Old  Chatham  Theatres,  New  York. 
She  afterwards  resided  principally  in  Boston,  where,  under 
her  husband's  management,  she  became  one  of  the  principal 
attractions  of  the  Tremont  and  National  Theatres,  and  was 
accounted  one  of  the  very  best  actresses  of  her  day.  She  re- 
tired from  the  stage,  for  several  years,  but  was  obliged  to 
return  to  it  in  1850,  when  Mr.  Pelby  died,  leaving  her  the 
direction  of  the  National  Theatre,  which  was  sold  to  pay  the 
debts  of  the  estate,  leaving  her  almost  without  resources. 
In  1853  she  went  to  California,  with  her  daughter,  Julia,  but 
her  fortunes  were  not  mended  by  her  stay  in  the  Golden 
State.  During  her  voyage  homeward,  on  board  the  steamer 
"Northern  Light,"  near  San  Juan  del  Sud,  in  June,  1855,  she 
was  seized  with  her  last  illness,  and  made  her  exit  from  the 
stage  of  life,  in  the  64th  year  of  her  age. 

2.  PLAYBILL.     CONCERT  HALL,  Corner  of  Court  and 

Hanover  Streets,  Boston.  Exhibition  of  the  Con- 
flagration OF  Moscow.  Part  First.  The  Origi- 
nal AND  Celebrated  Automaton  Chess  Player. 
Invented  by  De  Kempelin.  Improved  by  J.  Maelzel, 
etc.,  etc.,  etc.     [1826.]     Framed. 

Maelzel's  Automaton  Chess  Player  at  Julien  Hall,  puzzled 
the  quid  nuncs — the  discovery  not  then  being  made  of  the 
real  automaton  inside,  who,  on  a  cry  of  "fire!"  started  by 
some  wag,  made  a  rapid  exit  from  his  limited  quarters. 

3 


3.  HAMBLIN  (Mrs.)  [Elizabeth  Walker  Blanchard].     Por- 

trait. Vignette.  From  an  original  drawing  by  Rose 
Emma  Drummond.  Published  by  John  Bell,  1st 
Nov.,  1818. 

She  was  the  daughter  of  William  Blanchard,  the  famous 
London  comedian.  She  made  her  London  debut  at  the  Hay- 
market  Theatre,  July  15,  1818.  After  her  marriage  she  came 
to  America  with  her  husband,  making  her  first  appearance  in 
New  York,  at  the  Park  Theatre,  as  Mrs.  Haller,  Nov.  4,  1825, 
and  was  a  favorite  at  the  Bowery  Theatre.  In  1831,  she  re- 
turned to  Europe,  and  soon  after  her  return  commenced  a 
suit  of  divorce  against  her  husband,  Thomas  Sowerby  Ham- 
blin,  which  resulted  in  her  favor.  Shortly  afterwards,  she 
married  a  young  man  named  Charles,  whom  she  introduced 
to  the  New  York  stage,  at  the  Richmond  Hill  Theatre,  in 
1836.  She  was  a  woman  of  high  spirit,  and  her  domestic 
griefs  were  sometimes  brought  before  the  public  with  more 
temper  than  judgment.  Her  last  appearance  in  New  York, 
was  at  the  Astor  Place  Opera  House,  in  1848.  Her  first 
appearance  in  Boston  was  in  October,  1826,  at  the  Federal 
Street  Theatre.  She  died  of  cholera  in  the  city  of  New 
Orieans,  May  8th,  1849. 

4.  MACREADY  (William  Charles.)     Portrait,  as  Romeo. 

De  Wilde  pinxt.  Woodman  sculpt.  London,  1810. 
Framed. 

Mr.  Macready  was  only  17  years  old  when  this  portrait  was 
made. 

5.  MACREADY  (W.  C.)  Portrait,  as  Coriolanus.    From 

an  original  Drawing  by  George  Catlin.  E.  Dexter, 
73  Nassau  St.,  1875. 

6.  MACREADY  (Mr.)     Portrait,  in  the  Character  of 

King  Henry  4th.     Drawn  on  stone  by  Richard  Lane 
from  a  Picture  by  John  Jackson,  R.  A.     Printed  by 
HuUmandel.     Pubd.  by  R.  Ackermann,  1824. 
Lithograph. 

7.  MACREADY  (Mr.)     Portrait,  as  Henry  Vth.     J.  W. 

Gear  delt.     J.  Rogers  St. 

Engraved  for  the  Dramatic  Magazine. 

Born  March  3,  1793,  in  Charles  Street,  Fitzroy  Square, 
London.     Made  his  first  appearance  upon  the  stage  at  Bir- 

4 


mingham,  England,  in  1810,  as  Romeo,  afterwards  playing  at 
Dublin,  Bath,  etc.;  making  his  first  appearance  in  London, 
at  Covent  Garden  Theatre,  Sept.  16,  1816,  as  Orestes,  in 
"The  Distrest  Mother."  In  1817  he  performed  the  original 
character  of  Pescara  (the  part  refused  by  J.  B.  Booth)  with 
much  applause,  but  his  merit  as  a  tragedian  was  not  fully 
established  until  his  appearance  as  Virginius,  in  1820,  which 
was  a  complete  triumph,  confirmed  in  the  year  following  by 
his  masterly  delineation  of  the  character  of  Damon,  he  being 
the  original  representative  of  both  on  the  London  stage. 
From  this  time,  until  the  period  of  his  own  retirement,  he 
reigned  the  supreme  and  unrivaled  sovereign  of  the  British 
stage.  In  Sept.,  1826,  he  sailed  for  America,  making  his  first 
appearance  at  the  Park  Theatre,  New  York,  on  the  2nd  of 
October,  the  same  year,  as  Virginius,  the  receipts  being  $1,680. 
On  Jany  10,  1827,  he  first  appeared  in  Philadelphia,  at  the 
Chestnut  Street  Theatre,  as  Macbeth,  and  returned  to  Eng- 
land at  the  end  of  this  season.  On  Sept.  29,  1837,  he  opened 
Covent  Garden  Theatre,  as  Manager,  but  shortly  retired 
from  the  same.  Drury  Lane  Theatre  opened  under  his  man- 
agement on  Dec.  27,  1841.  He  revisited  America  in  1843, 
when  he  passed  in  triumph  through  the  country,  making  his 
last  appearance  at  the  Park  Theatre,  New  York,  September 
27,  1844.  In  1848,  he  again  visited  America,  and  in  October 
presented  himself  at  the  Astor  Place  Opera  House,  New  York, 
announcing  a  farewell  tour  in  the  United  States.  After  per- 
forming at  Baltimore,  Philadelphia,  and  other  cities,  and 
receiving  a  public  dinner  at  New  Orleans,  he  again  returned 
to  New  York,  and  was  advertised  to  appear  as  Macbeth  at 
the  Astor  Opera  House,  May  8,  1849,  and  on  the  evening 
of  May  10,  the  fatal  riot  (alluded  to  in  the  sketch  of  Mr. 
Forrest,  in  this  catalogue)  took  place.  He  escaped  from  the 
theatre  undiscovered,  but,  notwithstanding  the  urgent  en- 
treaties of  many  who  promised  to  sustain  him  to  the  last,  he 
was  so  overcome  by  the  results  of  that  fatal  night  that  he 
bade  adieu  to  New  York  forever.  The  rioters  were  so  violent, 
that  the  military,  who  had  been  called  out,  to  protect  the 
theatre,  finally  fired  upon  the  mob,  killing  twenty-two  men 
and  wounding  thirty-six.  Returning  to  England,  he  gave  a 
series  of  farewell  performances,  in  all  the  principal  British 
theatres,  making  his  final  appearance,  at  Drury  Lane  Theatre, 
in  the  character  of  Macbeth,  February  26,  1851.  He  made 
his  first  appearance  in  Boston,  at  the  Federal  Street  Theatre, 
as  Virginius,  to  a  crowded  and  fashionable  house,  on  Mon- 
day, October  30,  1826,  performing  during  this  engagement, 
Macbeth,  Damon,  William  Tell,  Hamlet,  repeating  Virginius, 
and  other  characters.  The  demand  for  tickets  was  very 
great,  and  speculators  reaped  a  rich  harvest.  He  became  the 
lion  of  the  day  and  was  the  recipient  of  marked  attention. 
He  never  lost  favor  with  Boston  audiences.     In  1844,  Goto- 

5 


ber  2,  he  played  his  final  engagement  in  Boston,  supported 
by  Charlotte  Cushman,  at  the  Melodeon,  which  had  tempo- 
rarily been  converted  into  a  theatre,  by  Leander  Rodney,  for 
a  series  of  performances,  by  these  famous  players.  He  died, 
April  29,  1873,  at  his  home  in  Weston-Super-Mare,  England, 
the  immediate  cause  of  his  death  was  a  disease  of  the  brain. 

8.  FORREST    (Edwin.)     Tragedian.     Portrait.     J.    W. 

Childs,  del.,  H.  Meyer  sc.     London,  1836. 

9.  FORREST    (Edwin.)     Portrait,    bust.     "Yours    Sin- 

cerely, Edwin  Forrest."     lEt.  65.      Fac  simile  auto- 
graph.    H.  B.  Hall  &  Sons. 

10.  FORREST  (Edwin.)     Portrait.     Bust. 
Proof,  before  all  letters. 

11.  FORREST  (Edwin  Mr.)    Portrait,  as  Carwin.    Phila- 

delphia.    Turner  &  Fisher,  11   North  Street.     Drawn 
and  Engraved  by  W.  Harvey  Ellis. 

12.  FORREST  (Edwin.)     Portrait,  The  American   Tra- 

gedian, as  The  Gladiator.     Madeley,  lith.  3  Welling- 
ton St.,  Strand. 
Lithograph. 

13.  FORREST  (Edwin.)    Portrait,  as  "Virginius."  "Well, 

I  am  patient,"  Act  3,  Scene  2.     Etch'd  by  H.  G.  Hall, 
Morrisania,  N.  Y.,  1873. 

Born  in  Philadelphia,  Pa.,  March  9,  1806.  When  a  mere 
boy  he  figured  as  a  conspicuous  member  of  several  societies 
of  amateur  actors.  His  first  appearance  before  a  public 
audience,  he  made  as  Young  Norval,  in  1818,  at  the  Tivoli 
Garden;  and  his  first  appearance  on  a  regular  stage  was  made 
in  this  same  part  at  the  Walnut  St.  Theatre,  Philadelphia, 
27th  Nov.,  1820,  when  he  was  cooly  received,  but  not  discon- 
certed. He  studied  zealously  for  the  stage,  and  in  1822  he  visited 
the  West,  playing  in  the  principal  cities.  After  several  years 
absence,  he  returned  to  the  North,  playing  successfully  in 
Albany,  N.  Y.  On  May  16,  1826  he  made  his  second 
debut  (in  Philadelphia)  as  Jaffier,  and  on  the  19,  he  enacted 
RoUa,  receiving  in  both  characters  enthusiastic  applause. 
His  first  appearance  in  New  York  was  made  at  the  old  Park 
Theatre  in  1826,  when  he  played  Othello  for  Mr.  WoodhuU's 

6 


Benefit.  Shortly  after  this  performance  he  was  engaged  by 
Gilfert  for  the  New  Bowery  Theatre,  New  York,  where  he 
first  appeared  on  Nov.  6,  1826,  as  Othello,  and  during  his 
stay  here  he  gained  a  name  and  fame  superior  to  any  other 
American  actor.  After  the  death  of  Mr.  Gilfert  he  trans- 
ferred his  services  to  the  Park  Theatre,  N.  Y.,  where  for 
several  years  he  was  a  most  popular  and  profitable  star. 
In  the  summer  of  1834,  he  was  honored  by  a  public  dinner, 
tendered  by  some  of  the  most  distinguished  citizens  of  New 
York,  and  was  presented  with  a  specially  designed  gold  medal. 
Soon  after  this  he  went  abroad,  appearing  for  the  first  time 
upon  the  London  stage,  at  Drury  Lane  Theatre,  Oct.  17th, 

1836,  as  Spartacus,  in  the  "Gladiator,"  and  was  well  received. 
While  here,  he  fell  in  love  with  his  future  wife,  the  daughter 
of  John  Sinclair,  the  vocalist,  to  whom  he  was  married,  June  23, 

1837.  Returning  to  the  United  States  the  same  season,  he  was 
received  with  open  arms  by  his  old  admirers  and  was  com- 
plimented in  December  of  that  year,  in  Philadelphia, 
with  a  public  dinner.  In  1845,  he  revisited  England,  and 
while  playing  Macbeth,  at  the  Princess's  Theatre,  London,  he 
was  hissed,  Mr.  Macready  being  charged  as  the  instigator. 
Shortly  after,  while  Macready  was  playing  Hamlet,  at 
Edinburgh,  he  was  openly  hissed  by  Mr.  Forrest,  who  pub- 
lished a  justification  of  himself  for  so  doing  in  the  London 
Times.  On  Macready 's  visit  to  America,  in  1848-9,  several 
articles  by  Mr.  Forrest,  commenting  severely  upon  him  and 
his  performances,  were  published,  and  to  them,  probably, 
may  be  attributed  the  terrible  riot  at  the  Astor  Place  Opera 
House,  New  York,  during  Macready's  performance  of  Mac- 
beth there.  May  10th,  1849.  This  caused  Mr.  Forrest  to 
lose  many  of  his  best  and  earliest  friends.  Then  came  the 
counter  suits  of  divorce  between  him  and  his  wife,  in  which 
the  means  taken  to  procure  criminating  evidence  against  Mrs. 
Forrest  were  such  as  to  meet  the  disapprobation  of  a  large 
portion  of  the  community.  The  case  occupied  the  court 
about  six  weeks,  resulting  in  the  lady's  favor,  in  January, 
1852.  Shortly  after  the  verdict,  Mr.  Forrest  appeared  at  the 
Broadway  Theatre,  New  York,  opening  on  Jany.  9th  to  an 
overflowing  house,  as  Damon,  concluding  the  engagement  on 
the  30th  of  April,  in  the  same  character,  having  played  sixty- 
nine  consecutive  nights — a  success  at  that  time  unparalleled 
in  America  by  any  other  tragedian.  From  1855  to  1860,  he 
lived  in  retirement  at  Philadelphia.  September  17,  1860,  he 
opened  at  Niblo's,  New  York,  as  Hamlet,  since  that  time  he 
performed  at  intervals  in  different  parts  of  the  United  States, 
his  debut  in  California  having  been  made  at  the  Opera  House, 
San  Francisco,  as  Richelieu,  May  14,  1866.  His  first  ap- 
pearance in  Boston,  was  at  the  Federal  Street  Theatre,  5th  of 
February,  1827,  as  Damon,  when  he  gave  glorious  promise  of 
his  subsequent  splendid  career.     His  last  appearance  upon 

7 


the  Boston  stage  was  on  Tuesday  evening,  April  2,  1872,  at 
the  Globe  Theatre,  as  Richelieu.  He  was  advertised  to  play 
the  balance  of  the  week,  but  the  following  day  he  was  taken 
violently  sick  and  his  engagement  was  concluded.  Mr. 
Forrest  appeared  as  a  dramatic  reader  in  Philadelphia, 
New  York  and  Boston.  His  last  series  of  readings  were  given 
in  our  own  Tremont  Temple.  On  December  12,  1872,  the 
great,  generous,  magnetic,  but  lonely  and  unhappy  man 
died  at  his  home  in  Philadelphia.  His  will  was  found  to 
contain  several  bequests  to  old  friends  and  servants,  but 
the  bulk  of  his  fortune,  together  with  his  residence  at 
Holmesburg,  was  left  in  the  hands  of  trustees,  to  be  applied 
to  the  erection  and  support  of  a  retreat  for  aged  actors 
and  actresses,  to  be  called  "The  Edwin  Forrest  Home."  He 
is  buried  in  St.  Paul's  Churchyard,  Philadelphia. 

14.  POVEY  (Miss.)  (Mrs.  Knight.)     Engraved  Portrait. 

Vignette.    Painted  by  Rose  Emma  Drummond.    Engd. 
by  Woolnoth.     Pubd.    by    Dean   &   Munday,    1821. 
Presentation  copy  from  J.  Povey. 

15.  KNIGHT  (Mrs.)  (Mary  Ann  Povey.)     Engraved  Por- 

trait.    "The  Banners  of  Blue." 
Lithograph  Music  Sheet. 

16.  KNIGHT  (Mrs.)  (Mary  Ann  Povey.)     Portrait,  "I'll 

Tell  Nobody." 
Lithograph  Music  Sheet. 

Mrs.  Knight  was  born  in  Birmingham,  England,  Jan.  26, 
1804.  Made  her  first  appearance  on  any  stage,  as  a  vocalist, 
at  Drury  Lane  Theatre,  in  1817,  and  sang  "He  seeks,  he 
seeks  another."  Her  first  appearance  as  an  actress,  was  also 
at  Drury  Lane,  in  1819,  enacting  Margaretta,  in  "No  Song, 
No  Supper."  In  1826  she  came  with  her  brother,  John 
Povey,  to  the  United  States,  and  made  her  debut  on  the  Ameri- 
can stage,  Nov.  30,  at  the  Park  Theatre,  New  York.  She 
appeared  in  Boston  at  the  Federal  Street  Theatre,  in  1827, 
but  did  not  create  the  sensation  she  had  made  in  New  York. 
As  a  vocalist  she  was  very  good,  and  possessed  considerable 
talents  as  an  actress.  Her  first  appearance  in  Philadelphia, 
Jan.  29,  1827,  was  at  the  Chestnut  Street  Theatre,  as  Floretta 
in  "The  Cabinet,"  the  part  in  which  she  made  her  New  York 
debut.  After  traveling  as  a  star  for  many  years,  she  joined 
the  stock  company  of  the  Park  Theatre,  New  York,  in  1841, 
remaining  there  until   1848.     She  returned  to  England,  in 


May,  1849,  reduced  to  partial  blindness,  from  a  disorder  of 
the  eyes  induced  by  grief  for  the  loss  of  her  child.  She  died 
at  Brompton,   England,   October,   1861. 

17.  TREMONT  THEATRE,  Boston,  Sept.,  1827.    View  of. 
Original  Lithograph. 

18.  TREMONT  STREET.     View  of.     Showing  the  Front 

of  the  Tremont  Theatre  and  the  Front  of  the  Tremont 
House. 
Wood  cut.     Hand  colored. 

The  second  dramatic  temple  of  note  in  Boston  was  the 
Tremont  Theatre,  which  opened  its  doors  to  the  public,  under 
the  management  of  William  Pelby,  Sept.  24,  1827.  In  1843 
it  was  sold  to  the  Baptists,  the  closing  performance  occurred 
June  23,  1843.  Mr.  Thomas  Barry  was  manager  for  seven 
years,  without  profit  to  himself,  though  his  efforts  to  advance 
the  legitimate  drama  were  worthy  of  large  success.  The 
theatre  was  too  small  to  enable  even  crowded  houses  to  meet 
the  extraordinary  expenses  incidental  to  great  attractions. 

19.  PLAYBILL.       Tremont     Theatre,     Boston.       Opening 

Night,  Sept.  24,  1827,  when  will  be  presented.  Wives 
As  They  Were,  and  Maids  As  They  Are.  Previous 
to  the  Comedy  The  Prize  Address  Will  be  deliv- 
ered BY  Mr.  Blake.  To  conclude  with  The  Lady 
AND  the  Devil.     Framed. 

20.  ANDREWS  (George  H.)     Portrait.     Bust. 
Bierstadt  Process  Print. 

21.  ANDREWS  (Mr.)  [George  H.]     Portrait,  as  Captain 

Copp.     Drawn  on  stone  by  J.  Bell,  Lord  St.,  L'pool. 
Lithograph.     Very  Rare. 

22.  ANDREWS    (George    H.)     Portrait,    as    Luke    the 

Laborer. 

Water  Color  Drawing.    Artist  unknown. 

Born  in  London,  Eng.,  in  1798.  Made  his  debut  in  1819,  as 
Lothair,  in  "Adelgitha,"  in  Manchester,  England.  His  first 
appearance  in  America,  was  at  the  Federal  Street  Theatre, 
Boston,  as  Bob  Acres,  in  "The  Rivals,"  Sept.,  1827.  Here 
he  remained  for  some  time,  and  married  Miss  Woodward. 

9 


He  made  his  debut  in  New  York,  in  1838,  as  Zekiel  Homespun, 
and  Luke  the  Laborer,  at  the  Chatham  Theatre.  Was  after- 
wards attached  to  the  Park  and  the  old  Broadway  Theatres. 
After  leaving  the  stage,  he  managed  the  old  Chinese  Buildings, 
New  York,  as  a  ball  room.  He  again  returned  to  the  stage, 
appearing  at  Niblo's  Garden,  and  afterwards  at  the  Winter 
Garden  Theatre.     Died  in  New  York,  April  7,  1866. 

23.  HORN   (Charles   E.)     Portrait.     Vignette,   with  fac- 

simile of  autograph.     Lith.  of  Fleetwood.     From  life 
on  stone  by  J.  A.  McDougall. 
Lithograph. 

24.  HORN  (Mr.)  [Charles  Edward.]     Portrait,  as  Caspar, 

in    Weber's    Celebrated    Romantic    Opera    of    Der 
Freischijtz.     Drawn  and  Engraved  from  life  by  Jno. 
Wm.  Gear.     Printed  by  G.  Hullmandel. 
Lithograph. 

25.  HORN  (Mr.)     Portrait,  in  the  character  of  Count 

Albert,  in  the  Opera  of   Safe  and  Sound.      Engd. 
by  Meyer,  from  a  miniature  by  W.  J.  Newton. 

Was  born  in  London,  1788.  His  father,  a  distinguished 
musician,  instructed  him  on  the  pianoforte;  the  science  of 
music  was  imparted  by  Baumgarten,  his  vocal  tutors  were 
Rauzzini  and  T.  Welsh.  He  was  at  Covent  Garden,  and 
afterwards  at  the  Italian  opera,  playing  in  the  orchestra  at 
both  houses.  He  made  his  first  appearance,  as  a  singer,  at 
the  Lyceum  Theatre,  London,  June  26,  1809,  and  rising 
rapidly  in  favor,  soon  attained  a  high  position  on  the  boards 
of  Drury  Lane.  He  first  appeared  in  America,  at  the  Park 
Theatre,  New  York,  Oct.  17,  1827,  as  the  Seraskier  in  "The 
Siege  of  Belgrade,"  and  soon  afterwards  appeared  as  Prince 
Orlando,  Don  Sylvio,  Henry  Bertram,  and  Trumore  ("Lord 
of  the  Manor").  His  first  appearance  in  Boston  was  at  the 
Federal  Street  Theatre,  in  1827,  when  "Guy  Mannering" 
and  "Der  Freischutz"  were  presented.  While  he  retained 
his  voice,  he  was  much  admired  in  this  country,  but  its 
failure  caused  him  to  leave  the  stage  about  1835,  although  he 
afterward  frequently  appeared  in  the  concert-room  as  vocal- 
ist, and  accompanist  on  the  piano.  He  also  at  one  time 
was  engaged  in  business  as  music-seller  and  publisher.  As  a 
composer  and  adapter,  he  was  very  happy.  Several  of  his 
songs,  "I've  been  Roaming,"  "Deep,  Deep  Sea,"  "Cherry 
Ripe,"  "Mermaid's  Cave,"  etc.,  attained  great  popularity. 
He  also  arranged  many  foreign  operas  for  the  English  stage. 
He  died  at  Boston,  of  typhoid  fever,  Oct.  22,  1849. 

10 


26.  HACKETT    (Mr.)     Portrait,    as    Falstaff.     Drawn 

and  lithographed  by  G.  E.  Madeley. 
Lithograph  in  Colors. 

27.  HACKETT  (JAMES  H.)   Portrait,  as  Monsr.  Mallet, 

G.  E.  M.  Madeley  lith. 
Lithograph. 

28.  HACKETT    (JAMES    H.)     Engraved    Portrait,    as 

"NiMROD  Wildfire."     From  the  original  painting  by 
A.  Andrews.     Proof.     China  Paper. 

James  Henry  Hackett  was  born  in  New  York  City,  March 
15th,  1800.  His  first  appearance  on  the  boards  of  any  theatre 
was  at  the  Park,  New  York,  March,  1826,  as  Justice 
Woodcock  in  "Love  in  a  Village";  but  his  success  did  not 
equal  his  own  expectations  or  those  of  his  friends.  He  re- 
solved, however,  to  make  a  second  attempt;  and  appeared 
in  an  entertainment,  in  which  he  gave  imitations  of  popular 
actors,  and  stories  illustrative  of  American  characteristics. 
In  this  experiment  he  was  entirely  successful.  His  second 
great  hit,  was  in  personating  one  of  the  two  Dromios  in  the 
"Comedy  of  Errors,"  in  which  he  presented  a  capital  imitation 
of  Barnes,  who  then  was  performing  the  twin  brother.  This  was 
at  the  Park  Theatre,  New  York.  In  December  he  sailed 
for  England,  and  on  the  6th  of  April,  1827,  at  Covent  Garden 
Theatre,  first  gave  the  Enghsh  pubUc  a  touch  of  his  Yankee 
stories  and  imitations  in  "Sylvester  Daggerwood."  During 
that  visit,  he  gave  the  whole  character  of  Richard  III,  in 
imitation  of  Kean,  at  the  Surrey  Theatre,  with  very  great 
applause.  He,  however,  returned  to  America,  where  his 
performances  of  Morbleau,  Dromio,  Solomon  Swap  (a  char- 
acter he  substituted  for  Solomon  Grundy,  in  Colman's 
comedy  of  "Who  Wants  a  Guinea?"  re-christening  the  whole 
as  "Jonathan  in  England"),  Rip  Van  Wrinkle,  Nimrod 
Wildfire,  etc.,  insured  him  hosts  of  friends  and  admirers.  In 
1829  and  1830,  he  was  for  a  while  connected  with  the  manage- 
ment of  the  old  Chatham  and  Bowery  Theatres,  New  York, 
but  reaped  more  fame  than  funds  from  his  enterprise.  In 
the  fall  of  1832,  he  again  visited  England,  appearing  both  at 
Drury  Lane  and  Covent  Garden,  winning  general  approba- 
tion by  his  performance  of  the  above  characters,  and  also  of 
Falstaff,  which  he  had  played  but  once  before  leaving  Amer- 
ica. In  1840,  1845  and  1851,  he  also  made  very  successful 
English  tours.  He  made  his  first  appearance  in  Boston,  at 
the  Federal  Street  Theatre,  in  1827,  in  October,  as  Dromio 
of  Ephesus  (the  Dromio  of  Syracuse  was  Barnes).  A 
perfect   similarit}^   of    dress,    and    a    wonderful   imitation   of 

11 


Barnes'  manner  of  speech  and  tone  of  voice,  made  it  some- 
times doubtful  whether  Barnes  or  Hackett  was  speaking. 
The  town  ran  to  see  this  performance,  and  filled  the  house 
nightly.  He  appeared  at  the  Howard  Atheneum,  in  October, 
1845.  He  was  the  first  manager  of  the  Howard  Atheneum, 
after  it  was  rebuilt.  He  married  Miss  Lee  Sugg,  of  the  Park 
Theatre,  New  York,  in  1819.  He  died  at  his  home  in  Ja- 
maica, L.  I.,  on  Thursday  morning,  Dec.  28,  in  the  72nd. 
year  of  his  age.  He  will  be  chiefly  remembered  for  his  ex- 
cellent performances  of  the  character  of  Falstaflf,  which  he 
acted  for  the  last  times  in  New  York,  at  Booth's  Theatre, 
from  Nov.  29  to  Dec.  25,  1869,  appearing  both  in 
"Henry  the  Fourth"  and  "The  Merry  Wives  of  Windsor." 

29.  FISHER   (CLARA.)     Engraved    Portrait.     Engraved 

by  S.  H.  Gimber  and  William  J.  Bennett,  from  the 
original  picture  by  Henry  Inman,  Esqr.  [1828.] 

30.  MAEDER     (CLARA     FISHER.)       Portrait.      Bust. 

Process    Print,    Hand    Colored.     With    autograph    of 
the  Lady,  1897. 

31.  FISHER  (Miss  CLARA.)     Engraved  Portrait.    Bust. 

A.    N.    Henderson   Delt.,   July,    1820.     Engd.   by   C. 
Thomson  (Cross)  Edin. 

32.  FISHER  (Miss  CLARA.)     Engraved  Portrait.    Engd. 

by  J.  Alais  from  an  original  painting  by  Rose  Emma 
Drummond.  Pubd.  by  John  Bell  for  La  Belle  Assemble  e. 
With  Autograph  of  the  Lady,  1895. 

33.  FISHER  (Miss  CLARA.)     Portrait.     Vignette.     To 

front  C.  G.  Childs,  Lith.     Pubd.  by  R.  H.  Hobson, 
Phila. 

34.  FISHER  (Miss  CLARA.)     Portraits  (4  on  1  sheet),  as 

The    Four    Mowbrays.     I.    R.    C.     Published    by 
Duncombe.     Hand  Colored. 

35.  MAEDER  (CLARA  FISHER.)     Portrait.     Vignette. 

Colored  Lithograph. 
No  other  copy  is  known. 

12 


36.  FISHER  (Miss  CLARA.)    Portrait,  as  Lord  Flimnap  in 

"LiLLiPUT,"  drawn  and  etched  by  George  Cruikshank. 
From  "The  British  Stage."  With  the  Lady's  Autograph 
and  date,  1897.     Colored. 

37.  FISHER  (Miss  CLARA),  of  the  Theatres  Royal,  Drury 

Lane  and  Covent  Garden.  Engraved  Portrait,  in 
the  Character  of  Richard  3rd.  "Myself  will  lead 
the  soldiers  to  the  Plain."  Pubd.  by  W.  J.  Collins, 
March  17th,  1828. 

38.  FISHER    (Miss    CLARA.)     Engraved    Portrait,    as 

Richard  3rd.  De  Wilde  del.  Prescott  sculp.  Pubd. 
by  Wm.  Fletcher,  Jany.,  1818.     Hand  Colored. 

Born  in  England,  July  14,  1811.  At  an  early  age  she 
displayed  a  natural  genius  for  the  drama.  When  six  years 
old  she  was  taken  to  witness  a  rehearsal  of  "Gulliver  in 
Lilliput,"  at  Drury  Lane  Theatre,  and  was  so  fascinated  with 
the  scene,  the  performers  being  children  between  the  years  of 
six  and  ten,  that  she  eagerly  begged  her  father's  permission 
to  join  the  little  troupe,  and  after  reciting  a  speech  from 
"Jane  Shore"  to  the  manager,  she  was  at  once  engaged, 
making  her  first  appearance,  at  Drury  Lane,  as  Lord  Flimnap, 
in  "Lilliput,"  Dec.  10,  1817,  with  great  success.  Immediately 
afterwards  she  was  engaged  at  Covent  Garden,  where  she 
appeared  with  equal  eclat.  So  marvelous  was  her  excellence 
in  "Richard,"  so  intense  the  curiosity  to  witness  her  per- 
formance, that  applications  for  her  services  poured  in  from 
every  quarter,  and  in  a  few  years  she  had  appeared  with 
corresponding  success  in  all  the  principal  towns  of  Great 
Britain  and  Ireland;  she  was  the  wonder  of  her  time?,  and  as 
a  juvenile  performer,  eclipsed  all  predecessors  and  successors. 
After  five  years  spent  in  starring,  she  was  engaged,  at  a  large 
salary,  at  Drury  Lane  Theatre,  where  she  reappeared  as 
Little  Pickle,  Dec.  3,  1822,  with  most  rapturous  ap- 
plause. She  came  to  America  before  she  had  reached  her 
seventeenth  year,  and  was  certainly -at  that  time  one  of  the 
most  bewitching  specimens  of  feminine  creation.  She  made 
her  first  appearance  at  the  Park  Theatre,  New  York,  Sept.  11, 
1827,  as  Albina  Mandevillein"TheWiir';  and  while  here,  she 
played  a  long  list  of  characters,  in  all  of  which  her  success  was 
unprecedented.  The  line  of  characters  in  which  she  appeared 
with  most  success  was  the  same  in  which  Mrs.  Jordan  and 
Madame  Vestris  achieved  their  greatest  triumphs.  She  was 
nature  itself  in  the  mischievous  boys  and  romping  girls  of  the 
stage,  while  the  pert  chambermaid  and  the  belle  of  the  salon 

13 


were  hit  off  with  an  unexampled  fidelity.  She  never  sought 
vulgar  admiration — she  never  forced  a  paint  nor  solicited 
applause.  On  the  6th  of  December,  1834,  she  was  united  in 
marriage  to  Mr.  James  G.  Maeder,  a  distinguished  musician. 
Her  last  engagement  at  the  Park  Theatre,  New  York,  was  the 
season  of  1840-41,  when  she  was  in  the  stock  company.  On 
the  28th  of  September,  1841,  she  had  a  complimentary  benefit 
there,  arranged  for  her  by  a  committee  of  ladies,  the  receipts 
of  which  amounted  to  nearly  $2,000;  and  her  last  appearance 
on  that  stage,  the  scene  of  her  many  triumphs,  was  in  the 
character  of  Lydia  Languish,  for  the  benefit  of  her  sister,  Mrs. 
Vernon,  Nov.  6,  1844.  She  retired  from  the  stage  for 
several  years,  residing  at  Albany,  N.  Y.  She  returned  to 
New  York  in  1851,  and  appeared  for  one  Season  at  Broug- 
ham's Lyceum,  and  afterward  occasionally  assisted  in  Madame 
Thillon's  opera  troupe  at  Niblo's.  Since  that  period  she  has 
plaj'ed  in  many  companies  in  various  cities  of  the  Union. 
On  the  19th  of  November,  1827,  she  made  her  first  appear- 
ance, in  Boston,  at  the  Federal  Street  Theatre,  opening  as 
Albina  Mandeville  in  "The  Will."  She  appeared  also  as 
Goldfinch — one  of  the  elder  Mathew's  favorite  parts,  and  her 
success  was  complete,  and  created  a  furore  in  this  city  which 
has  rarely  been  equalled.  She  has  played  here  many  times 
since.  One  notable  occasion  was  her  appearance  with 
Charlotte  Cushman,  at  the  Tremont  Theatre,  in  Mozart's 
"Marriage  of  Figaro."  She  did  her  last  stage  work  as  a 
member  of  one  of  Augustin  Daly's  companies,  finally  retiring 
in  1889,  after  nearly  three-quarters  of  a  century  behind  the 
footlights.  She  had  seven  children,  leaving  behind  her  two 
daughters  and  a  son.  She  died  at  Metuchen,  N.  J.,  Nov. 
12,  1898,  aged  87  years. 


39.     ACHILLE    (Madame.)     Portrait.     Bust.     Artist    un- 
known. 
Fine  India  Ink  Drawing. 

Madame  Achille  and  her  husband,  with  a  troupe  of  French 
dancers,  served  to  fill  up  the  intervals  between  comedies 
and  farces  at  the  Federal  Street  Theatre,  in  the  season  of 
1827-28. 


40.     ROCK  (Miss.)     Portrait.     Original  Daguerreotype. 


41.     ROCK  (Miss.)     Portrait. 
Bierstadt  Process  Print. 

14 


42.  ROCK  (Miss.)     Portrait.     Bust.     In    rectangle    line 

frame.     No  name. 

Miss  Rock  came  to  America  as  a  star,  making  her  first  appear- 
ance in  New  York  on  September  19,  1827,  as  Letitia  Hardy 
and  Miss  Jenny  Transit,  in  the  first  performance  of  the 
burletta  called  "Winning  a  Husband."  She  had  just  made 
a  brilliant  debut  at  Boston,  in  1827,  at  the  Federal  Street 
Theatre,  and  played  several  parts  with  such  decided  ability, 
that  had  not  Clara  Fisher's  star  been  already  in  the  ascendant, 
she  would  have  been  regarded,  perhaps,  as  the  brightest 
luminary  of  the  season.  As  it  was,  she  proved  a  powerful 
rival,  although  in  New  York  she  never  attained  equal  popu- 
larity. She  had  not  the  advantages  of  a  fine  face  or  person, 
nor  was  her  taste  in  costume  according  to  the  prevailing 
mode,  but  the  spirit  and  archness  that  she  displayed  made 
one  forget,  as  trifling,  all  minor  defects.  She  sang  with  great 
taste  and  sweetness  the  ballads  of  the  day,  to  which  her 
manner  lent  a  peculiar  charm.  After  a  few  starring  engage- 
ments. Miss  Rock  resided  generally  in  Boston,  where  she  was 
regarded  as  one  of  the  principal  ornaments  of  the  drama. 
She  last  played  in  New  York  at  the  Bowery  Theatre,  October 
2d,  1840,  as  Julie  de  Mortemar,  and  Violante.  In  private 
life  she  was  known  as  IMrs.  Murray. 

43.  BARBERY    [BARBERE]    (Mons.    M.    G.)     Portrait. 

Bust.     Principal    Dancer    Bowery    Theatre,    N.   Y. 
Lith.  of  Pendelton. 
This  is  the  only  known  Portrait. 

This  excellent  French  dancer,  the  first  male  dancer  who 
appeared  in  this  country,  made  his  debut  in  America,  on  the 
18th  of  Sept.,  1827,  at  the  New  York  Theatre  (Bowery),  in 
a  Pas  de  Trois,  with  Hutin  and  Celeste.  He,  Hutin  and 
Celeste,  were  engaged  at  the  Tremont  Theatre,  Boston, 
Nov.  27,  1827.  In  1831,  he  was  in  Philadelphia.  Afterwards 
he  resided  in  Memphis,  Tenn.,  teaching  French  and  music. 

44.  CELESTE-ELLIOTT     (Madame.)     Portrait.     Drawn 

on  stone  by  C.  Baugniet.     M.  &.  N.  Hanhart,  lith. 

printers.     Pubd.  by  McLean,  26,  Haymarket. 
Presentation  Copy.     "Mrs.  Eliza  Kinloch  with  the  best 

wishes    of    her    friend,    Celeste    Elliott,    New   York, 

June  25th,  1852." 
Lithograph. 

45.  CELESTE    (Mademoiselle.)     Portrait,    The    Greek 

RoMAiKA.     N.  Currier's  Lith.,  N.  Y. 
15 


46.  CELESTE.     Portrait,    as    the    Maid    of    Cashmere. 

E.  T.  Parris.     Pubd.  by  Hodgson  &  Graves.     1837. 
A.  Picker,  Lith. 
Colored  Lithograph. 

47.  CELESTE  (Mademoiselle.)     Portrait,  in  her  popular 

character    of     Marie     Ducange.       N.    J.    Crowley. 
Drawn  on  stone  by  Thomas  Fairland.      Printed    by 
Fairland.     Pubd.  at  Webster's  National  Acting  Drama 
Office. 
Lithograph.     Colored. 

48.  CELESTE-ELLIOTT  (Mad.)     Portrait,  as  the  Wild 

Arab  Boy,  in  the  melodrama  of  the  French  Spy,  as 
performed  at  the  National  Theatre,  New  York.  N. 
Sarony.  Printed  and  Pubd.  by  H.  R.  Robinson,  N.  Y. 

Born  in  Paris,  France,  Aug.  6,  1814.  Made  her  first  appear- 
ance on  any  stage  at  the  Bowery  Theatre,  New  York,  in  1827, 
as  a  dancer,  and  her  first  appearance  in  Philadelphia,  at  the 
Chestnut  Street  Theatre,  March  18,  1828,  and  danced  two 
pas  seuls,  the  first  composed  expressly  for  her  by  Mons. 
Barbere,  to  the  favorite  air  of  "The  Dashing  White  Sergeant;" 
the  second,  from  the  opera  of  "Nina,"  as  originally  danced  by 
her  in  New  York.  In  1828,  she  married  Henry  Elliott  of 
Baltimore,  by  whom  she  became  the  mother  of  an  only 
daughter.  After  dancing  with  success  in  the  principal 
theatres  of  the  Union,  she  sailed  from  New  Orleans  for  Liver- 
pool, and  there  first  appeared  upon  the  British  stage  as 
Fenella  in  "Masaniello,"  with  great  success.  After  playing 
the  round  of  the  provincial  theatres,  she  returned  to  London, 
playing  at  Drury  Lane  Theatre,  and  at  the  Queen's  Theatre, 
where  she  first  gained  a  metropolitan  repute  by  her  astonish- 
ing performance  of  Mathilde  in  the  "French  Spy,"  and  soon 
became  a  brilliant  star  in  all  the  best  minor  theatres  of  Lon- 
don. After  visiting  France,  Italy  and  Germany,  she  returned 
to  London,  and  was  triumphantly  welcomed  at  Drury  Lane, 
where  she  appeared  in  "La  Bayadere,"  "Prince  Leboo," 
"Revolt  of  the  Harem,"  etc.  On  the  17th  of  Nov.,  1834,  she 
reappeared  in  New  York,  at  the  Bowery  Theatre,  as  Mathilde, 
and  during  the  season  there  played  some  of  the  most  brilliant 
and  successful  engagements  on  record.  Then  went  starring 
through  the  Union.  During  this  tour,  which  extended  to 
1837,  it  is  said  that  she  netted  the  sum  of  forty  thousand 
pounds,  with  which  she  returned  to  England.  She  made  a 
third  visit  to  this  country  in  1838,  and  played  an  engagement, 

16 


at  the  Park  Theatre,  New  York,  in  January,  1840.  She,  in 
conjunction  with  Benjamin  Webster,  managed  a  theatre  in 
Liverpool,  England,  and  in  1844,  with  the  same  gentleman, 
became  co-lessee  of  the  Adelphi,  London,  visiting  America 
again  in  the  fall  of  1851.  She  made  her  first  appearance  at 
the  Broadway  Theatre,  New  York,  as  Miami,  in  "The  Green 
Bushes,"  on  the  18th  of  October.  Taking  her  farewell  benefit 
there  in  June,  1852.  Unexpectedly,  on  the  25th  of  Septem- 
ber, 1865,  after  an  absence  of  13  years,  she  presented  herself 
at  the  new  Broadway  Theatre,  New  York,  as  Miriam,  the 
Hebrew  Mother,  in  a  new  play  called  "The  Woman  in  Red," 
and  excited  her  audience  to  the  very  highest  pitch  of  enthusi- 
asm. In  her  prime,  to  elegance  and  symmetry  of  person,  she 
added  a  handsome  face,  eloquent  dark  eyes,  and  an  expressive- 
ness of  feature,  beyond  any  actress  of  the  age.  Every  move- 
ment was  full  of  grace,  and  every  attitude  a  picture.  The 
power,  pathos,  and  effect  of  her  pantomimic  acting  have  never 
been  approached,  while  her  assumption  of  male  attire  and 
heroic  character,  were  marvelous  exhibitions  of  daring  ambi- 
tion and  successful  achievement.  Her  success  in  America  has 
been  equalled  among  women  only  by  Fanny  Kemble  and 
Jenny  Lind,  and  she  was  undoubtedly  the  most  popular  of 
the  trio.  She  first  appeared  in  Boston,  Nov.  27,  1827,  at 
the  Tremont  Theatre.  At  the  same  house  again  in  1828,  she 
brought  out  "The  Cahph  of  Bagdad."  The  season  of  1829 
commenced  September  14,  when  "Speed  the  Plough,"  and 
"The  Romaika,"  by  Mad'Ues  Celeste  and  Constance,  and 
"Touch  and  Take,"  were  presented.  She  was  starring  at 
the  Federal  Street  Theatre  in  season  of  1836-7,  and  at  the 
Howard  Athenasum,  Oct.  16,  1865,  on  a  tour  through  this 
country,  extending  to  the  Pacific  Slope;  she  went  from  there 
to  AustraHa,  and  back  to  England,  filling  many  engagements 
there,  until  October,  1874.  From  that  time  until  her  death 
she  remained  virtually  in  retirement,  only  occasionally 
facing  the  footlights  for  the  benefit  of  some  brother  or  sister 
professional.  She  died  in  Paris,  France,  her  native  city, 
February  19,  1882. 

49.  SLOMAN  (Mrs.)  Engraved  Portrait,  in  the  charac- 
ter of  Belvidera.  W.  Chatfield  Pinx.  W.  Humphreys 
Sculpt. 

India  Proof. 

Mrs.  Sloman's  maiden  name  was  Whitaker,  and  in  early 
life  she  married  Henry  Dowton,  a  son  of  the  great  comedian. 
On  his  death,  she  married  John  Sloman,  and  appeared 
successfully  in  London,  in  1824.  Her  American  debut 
took  place  at  Philadelphia,  Dec.  7,  1827,  and  played 
a  triumphant  engagement.      Mrs.  S.  made  her  first  appear- 

17 


ance  in  Boston,  at  the  Federal  Street  Theatre,  on  the  7th 
of  January,  1828,  and  gained  great  fame  as  Mrs.  Haller  and 
Belvidera.  She  made  her  first  appearance  in  New  York  at 
the  Park  Theatre,  Feb.  4,  1828.  She  was  a  correct  and  lady- 
like actress,  but  too  coldly  classical  to  suit  the  multitude. 
Her  declamation  was  remarkably  fine.  Upon  her  retirement 
from  the  stage,  she  took  up  her  residence  in  Charleston,  S.  C, 
where  she  suddenly  died   Feb.  7,  1858. 


50.  JONES    (GEORGE.)      Engraved    Portrait.      Bust. 

Medallion.     Drawn  by  F.  S.  Agate.     Engd.  by  A.  B. 
Durand.      Facsimile  autograph. 

51.  JOANNES  (GEORGE,THE  COUNT.)  ''The  Uncrushed." 

Portrait,  as  Richard  III.     Weldon. 
Hand  Colored. 

52.  [JONES  (GEO.)]     Caricature  Portrait.     The  Great 

American  Roscius  as  Richard  the  Third,  Act  4th, 
Scene  4th.     Biz  fecit. 
Lithograph. 

53.  JOANNES    (THE    COUNT.)      Playbill,    New   York 

Academy  of  Music.      Testimonial  Benefit,  April 
24,     1876.       Hamlet:  —  Hamlet:  —  The     Count 
Joannes — with  Carte  de  Visite  photo. 
Inlaid. 

George  Jones  was  a  native  of  England,  who  possessed  a 
personal  appearance  well  adapted  to  the  juvenile  heroes  of 
tragedy  and  comedy,  combined  with  a  very  large  share  of 
assurance,  which  led  him  to  style  himself,  when  on  a  visit 
to  his  native  land,  the  "American  Tragedian!"  He  married 
Miss  Melinda  Topping,  of  New  York,  whom  he  introduced 
to  the  stage,  and  from  whom  he  afterward  separated.  He 
at  one  time  managed  the  Avon  Theatre,  at  Norfolk,  Va., 
in  which  city,  we  believe  his  daughter  Avonia  (Mrs.  G.  V. 
Brooke)  first  saw  the  Hght.  He  was  in  the  company  at  the 
Federal  Street  Theatre  in  1828.  He  was  the  Claude  Mel- 
notte,  when  the  "Lady  of  Lyons"  was  first  produce  in 
Boston  at  the  old  National  Theatre,  May  16,  1838;  Mrs. 
Jones,  PauUne;  Spear,  as  Col.  Damas;  Mrs.  Pelby,  as  Mme. 
Deschapelles. 

18 


AUSTIN  (Mrs.)     Portrait.     Painted  by  H.  P.  Briggs. 

Drawn  on  stone  by  Weld  Taylor.     Printed  by  Graf 

and  Soret. 
Lithograph  on  India  paper. 


55.     AUSTIN  (Mrs.)     Engraved  Portrait,  as  Ariel.     R. 
Hinshelwood  so. 


56.     AUSTIN    (Mrs.)     Engraved    Portrait,    as    Rosetta. 
Drawn  by  Holroyd.     Engd.  by  Holl. 

The  beautiful  Mrs.  Austin  made  her  first  appearance  in  New 
York  as  Rosetta  in  "Love  in  a  Village  "  at  the  Park  Theatre, 
New  York,  Jan.  2,  1828.  This  brilliant  songstress  had 
just  concluded  an  engagement  in  Philadelphia,  where  she 
first  appeared  in  America  on  the  10th  of  Dec,  1827.  She 
was  more  accomplished  in  the  Italian  School  of  Music  than 
any  vocalist  who  had  preceded  her,  Malibran  alone  excepted. 
Her  voice  extended  to  nearly  three  octaves  and  possessed 
remarkable  purity  and  sweetness.  Her  merit  was  confined 
exclusively  to  her  singing,  and  to  a  very  lovely  personal  ap- 
pearance. She  was  no  actress,  nor  had  she  the  archness,  ex- 
pression or  feeling  requisite  for  a  successful  ballad  singer. 
She  was  the  original  heroine,  in  this  country,  of  "Cinderella," 
"Artaxerxes,"  the  "White  Lady,"  "Caliph  of  Bagdad," 
"Fra  Diavolo,"  and  other  operas,  which  owed  their  success 
principally  to  her  exertions.  Her  Ariel,  in  "The  Tempest," 
and  Apollo,  in  "Midas,"  to  this  day  remain  unapproached 
in  excellence.  She  was  at  the  Tremont  Theatre,  May,  1828, 
in  the  production  of  "Der  Freischiitz"  and  also  in  1829  and 
1830.  On  Monday,  March  5,  1832,  she  played  in  "Cinderella," 
the  first  time  in  this  city,  at  the  Tremont.  The  season 
of  1834-5,  she  was  again  starring  at  the  Tremont  Theatre. 
She  played  her  farewell  engagement  at  the  Park  Theatre, 
New  York,  in  1835,  making  her  last  appearance  there, 
April  8,  but  was  induced  by  liberal  offers  afterward  to  play 
a  few  nights  at  the  Bowery  Theatre,  where  she  made  her  last 
appearance  in  America,  on  the  8th  of  May,  1835,  as  Diana 
Vernon  and  Virginia,  and  returned  to  Europe. 


57.  LANE  (Miss)  [Mrs.  JOHN  DREW.]  Portraits  (eight 
years  of  age)  in  the  characters  in  "Twelve  Precisely." 
Drawn  on  stone  by  D.  C.  Johnston.  Lith.  of  Pendleton, 
Boston,  Nov.  3,  1828. 

19 


58.    DREW  (LOUISA)  [Mrs.  JOHN  DREW.]     Engraved 
Portrait,  as  Mrs.  Malaprop.     Sarony.     S.  Hollyer. 
India  Proof.     Signed  by  the  Engraver. 

One  of  the  best  all  round  actresses  of  her  day,  was  born 
Jan.  10,  1818,  in  England,  her  maiden  name  was  Lane.  Her 
first  appearance  upon  the  stage  was  at  Liverpool,  England,  in 
1826,  enacting  the  part  of  Agib,  in  "Timon  the  Tartar."  With 
her  mother,  who  was  professionally  known  as  Mrs.  Kinloch,  she 
made  her  American  debut,  Sept.  26,  1827,  at  the  Walnut  Street 
Theatre,  Philadelphia,  as  the  little  Duke  of  York,  to  the 
Richard  the  3rd,  of  the  Elder  Booth.  She  made  her  first  ap- 
pearance in  New  York,  at  the  Bowery  Theatre,  as  Little 
Pickle,  in  "The  Spoiled  Child,"  March  3,  1828.  Then  to  the 
Park  Theatre,  New  York,  and  from  there  to  Boston,  making 
her  first  appearance  at  the  Tremont  Theatre,  season  of  1828, 
and  then  to  Baltimore,  Md.,  for  a  brief  engagement.  After- 
wards she  visited  the  other  principal  cities  in  the  country 
and  became  a  favorite  everywhere.  On  the  5th  of  January, 
1829,  she  appeared  at  the  Chestnut  Street  Theatre,  Phila- 
delphia, in  "Twelve  Precisely;"  or,  "A  Night  at  Dover,"  in 
which  She  sustained  five  characters,  and  "The  Spoiled  Child;" 
and  at  her  benefit,  8  days  later,  the  same  bill  was  given. 
Afterwards  she  was  at  the  Walnut  Street  Theatre,  played  a 
short  engagement,  and  then  en  tour  through  the  South  and 
West,  returning  East,  making  her  first  appearance  at  the 
Arch  Street  Theatre,  Philadelphia,  Sept.  22,  1829.  In  1830, 
she  was  again  en  tour,  leaving  New  Orleans,  La.,  for  the  West 
Indies.  On  her  return  to  the  States,  she  opened  at  the 
Walnut  Street  Theatre,  Jan.  8,  1832,  making  her  appearance 
as  Albinia  Mandeville,  in  "The  Will."  In  1833  she  was  at 
the  Old  Bowery  Theatre,  New  York,  in  the  stock  company, 
playing  in  the  support  of  all  the  prominent  stars  of  the  day 
in  a  constant  round  of  standard  dramas.  In  1839,  she  mar- 
ried Henry  B.  Hunt,  a  member  of  the  profession,  making  her 
first  appearance  as  Mrs.  Hunt,  Aug.  19,  of  that  year,  at 
the  Walnut  Street  Theatre,  as  Italia,  in  "Romanzo  :"  she 
was  the  Julie  de  Mortimer  in  the  first  American  production 
of  "Richelieu,"  with  Edwin  Forrest  as  the  Cardinal,  Sept. 
24,  1839.  In  October,  1840,  she  was  in  the  Chestnut  Street 
Theatre  Stock  Company.  In  1842,  she  re-appeared  at  the 
Park  Theatre,  New  York,  where  she  became  a  great  favorite. 
In  1848  she  married  George  Mossop,  and  as  Mrs.  Mossop, 
made  her  first  appearance  in  Philadelphia,  May  24,  1849. 
Mr.  Mossop  died,  Oct.  8,  1849,  and  on  July  27,  1850,  she 
married  John  Drew,  at  Albany,  N.  Y.,  where  they  were  both 
members  of  the  Museum  Company.  Both  became  members 
of  the  Chestnut  Street  Theatre,  Philadelphia,  season  of  1852-3, 
remaining  until  Feb.  21,  1853,  when  they  went  to  the  Arch 
Street  Theatre,  remaining  there  until  July,  1855,  v/hen  Mr. 

20 


)0 


and  Mrs.  Drew  toured  the  country.  In  1861,  she  became 
lessee  and  manageress  of  the  Arch  Street  Theatre,  and  con- 
tinued as  such  until  May  7,  1892,  when,  with  a  performance 
of  "Widow  Green,"  in  "The  Love  Chase,"  she  withdrew 
from  the  old  house,  after  its  management  for  thirty-one  years. 
While  manageress  here,  she  many  times  made  short  tours 
of  the  country  at  the  head  of  her  own  company,  and  also 
in  conjunction  with  other  well  known  performers.  In  May, 
1877,  she  made  her  first  appearance,  in  San  Francisco,  CaL, 
as  Lady  Teazle,  in  "The  School  for  Scandal."  In  1887, 
April  18,  she  played  a  star  engagement  at  the  People's  Thea- 
tre, New  York,  as  Mrs.  Malaprop,  in  "The  Rivals."  October 
17,  1887,  she  appeared  at  the  Star  Theatre,  New  York,  with 
Joseph  Jefferson,  in  "The  Rivals."  On  Oct.  29,  of  the  year 
following  she  appeared  with  Joseph  Jefferson  and  John  Gil- 
bert, at  the  Fifth  Avenue  Theatre,  New  York,  in  the  same 
play,  and  for  season  of  1889-90  she  was  with  the  Jefferson- 
Florence  Company,  opening  at  the  Star  Theatre,  New  York, 
in  the  same  play.  Her  last  appearance  in  New  York  City, 
was  May  30,  1896,  when  she  appeared  as  Mrs.  Malaprop; 
the  Company,  all  stars,  including  Jos.  Jefferson,  W.  H. 
Crane,  Nat  C.  Goodwin,  Julia  Marlowe,  Robert  Taber,  and 
others.  She  played  at  various  times  in  Boston,  at  different 
theatres,  always  with  approval.  For  many  years  she  was 
considered  one  of  the  most  versatile  actresses  on  the  Ameri- 
can stage.  Her  originality,  and  knowledge  of  the  technique 
of  the  stage,  won  her  unfading  laurels.  She  died  at  the  home 
of  her  son,  Mr.  John  Drew,  in  Larchmont,  N.  Y. 

59.     SCOTT  (J.  R.  Mr.)     Portrait,  as  Macbeth. 

Lithograph. 

John  R.  Scott  was  born  in  Philadelphia,  Oct.  17,  1808,  and 

made  his  debtit  upon  the  stage,  July  2,  1828,  as  Malcolm,  to 

the  Macbeth  of  J.  B.  Booth,  at  the  Park  Theatre,  New  York. 

He  made  his  bow  to  a  Philadelphia  audience,  Aug.  29,  1831, 

as  William,  in  "Black-eyed  Susan."     In  1847,  he  appeared 

in  London,  at   the  Princess's  Theatre,  making  his  debut  as 

Sir  Giles  Overreach.     His   last  appearance  in  Philadelphia, 

was  at  the  City  Museum,  Jan.  22,  1856,  as  Rob  Roy.     His 

first  appearance  in  Boston,   was  at  the  Tremont  Theatre, 

Sept.  1,  1828,  as  Peter  in  "Speed  the  Plough,"  a  part  of  two 

lines  in  length,  which  he  delivered  incorrectly,  and  for  three 

months  after  was  not  allowed  to  speak  at  all,  being  confined 

solely  to  walking  in  processions,  filling  up  groupings,  &c.    He, 

\  however,  persevered  there  with  such  indomitable  spirit  that 

\         he  was  rewarded  with  high  promotion  the  next  season,  and 

X      two  or  three  years  later  he  was  playing  leading  characters 

■^elsewhere.     Possessing  a  fine  personal  appearance  and  great 

nal5u;Cal  abilities,  he  might,  with  proper  caution  in  his  personal 

21 


habits  and  a  closer  application  to  study,  have  ranked  among 
the  very  highest  of  our  actors.  His  school  was  that  of  For- 
rest, but  he  was  not  a  servile  imitator,  and,  like  Booth,  in 
the  latter  part  of  his  career,  he  was  apt  to  disappoint  his 
audiences  by  sudden  disappearances.  He  died  suddenly  in 
New  York,  in  the  summer  of  1856. 

SCOTT    (JNO.    R.)     Portrait,    as    St.    Pierre.     T. 

Sully  Jr.  pinxt.     On  stone  by  Newsam. 
Lithograph. 

61.  COMER  (THOMAS.)     Portrait. 
Photo  from  oil  painting. 

62.  COMER  (THOMAS.)     Portrait.      Bust  and  printed 

matter.     Wood  cut. 

Mounted. 

Thomas  Comer  was  born  in  Bath,  England,  Dec.  19,  1790, 
and  made  his  first  appearance  on  any  stage  at  the  Bath 
Theatre,  at  the  age  of  12  years,  as  Don  Caesar  in  "The  Castle 
of  Andalusia."  First  appeared  on  the  London  stage  in  1816,  as 
The  Officer  in  "The  Slave."  Made  his  debut  on  the  American 
stage  in  1827  at  the  Bowery  Theatre,  New  York,  as  Forage 
in  "Turn  Out."  He  remained  for  the  season,  and  then  went 
to  Boston,  and  made  his  first  bow  at  the  Tremont  Theatre, 
Sept.  1,  1828,  as  Looney  McTwolter,  'in  "The  Review," 
and  also  filled  the  position  of  musical  Director.  In  January, 
1829,  Der  Freischutz,  was  brought  out  in  an  admirable  manner, 
under  his  direction.  On  the  6th  of  April,  1829,  he  announced 
his  first  benefit  in  Boston,  and  many  a  time  since  then  has  the 
name  of  "Honest  Tom  Comer"  been  posted  as  the  bene- 
ficiary of  the  evening.  He  was  musical  Director,  when  "Tan- 
credi,"  "Barber  of  Seville,"  etc.,  were  brought  out.  This  was 
the  first  regular  attempt  to  present  the  lyric  drama  in  this 
city,  with  all  the  proper  accompaniments  and  it  proved  suc- 
cessful. The  music  and  choruses  of  "Cinderella,"  on  its 
first  production  in  this  city,  March  5,  1832,  at  the  Tremont, 
were  under  his  direction.  As  a  spectacle,  nothing  equal  to  it 
had  been  seen  in  Boston  up  to  that  time.  For  several  years 
he  was  connected  with  the  Boston  Museum,  in  the  capacity 
of  leader  of  the  orchestra  and  musical  director,  and  Mr. 
Kimball's  various  brilliant  spectacles  were  rendered  more 
attractive  by  the  original  music  composed  for  them  by  Mr. 
Comer.  He  was  musical  director  at  the  opening  of  the  pres- 
ent Boston  Theatre,  Sept.  11,  1854,  under  the  management  of 
Mr.  Thomas  Barry,  and  was  a  member  of  this  company 
for  several  seasons.  He  died  in  Boston,  July  27,  1862,  and 
was  buried  on  the  30th  at  Mount  Auburn. 

22 


63.  GILBERT  (JOHN.)     Engraved  Portrait.     Facsimile 

autograph.     S.  Hollyer. 
India  Proof.     Signed  by  the  Engraver. 

64.  GILBERT     (JOHN     GIBBS.)     Portrait,     as     Lord 

Ogleby,  in  "Clandestine   Marriage."     Quotation. 
Act  5th,  Scene  last,  and  Autographed  by  Himself. 
Photograph. 

65.  GILBERT  (JOHN  GIBBS.)     Portrait,  as  Old  Dorn- 

TON,  in  "The  Road  to  Ruin,"  with  quotation,  Act  3d, 
Scene  2,  and  Autographed  by  Himself. 
Photograph. 

66.  GILBERT  (JOHN  GIBBS.)     Portrait,  as  Sir  Simon 

Ingot,  in  "David  Garrick."     Quotation,    Act  3rd, 
Scene  last,  and  Autographed  by  Himself. 
Photograph. 

67.  GILBERT  (JOHN  GIBBS.)     Portrait,  as  Sir  Anthony 

Absolute,   in   "The   Rivals."     Quotation,   Act  4th, 
Scene  2d,  and  Autographed  by  Himself. 
Photograph. 

68.  GILBERT  (JOHN  GIBBS.)     Portrait,  as  Sir  Peter 

Teazle. 

Photograph.     Finely  colored  by  hand. 

John  Gibbs  Gilbert  was  born  Feb.  27,  1810,  at  No.  12  Rich- 
mond Street,  Boston,  next  door  to  the  house  in  which 
Charlotte  Cushman  was  born,  and  made  his  first  appearance 
upon  the  regular  stage  at  the  Tremont  Theatre,  Boston, 
Nov.  28,  1828,  as  Jaffier,  and  his  effort  met  with  success. 
His  second  appearance  was  as  Sir  Edward  Mortimer  in  "The 
Iron  Chest."  He  was  sent  with  a  part  of  the  Tremont  Com- 
pany to  Salem,  Mass.,  and  while  playing  there,  was  engaged 
by  J.  H.  Caldwell,  manager  of  the  Camp  Street  Theatre, 
New  Orleans,  to  play  in  the  Southern  cities;  and  under  his 
management  he  remained  for  nearly  five  years,  acting  in 
Southern  and  Southwestern  Theatres,  where  he  was  cast 
for  all  sorts  of  parts,  and  had  to  put  up  with  considerable 
hardship  at  times.  He  was  again  at  the  Tremont  Theatre,  Bos- 
ton, in  1 834,  and  here  for  the  first  time  he  was  regularly  cast  for 
"first  old  man,"  a  line  of  parts  which  he  played  for  more  than 

23 


fifty  years.  His  roles  at  that  time  embraced  tragedy  as  well 
as  comedy,  but  his  specialty  was  first  old  men,  and  in  these 
parts,  for  many  years  he  had  no  equal.  He  was  at  the  Tre- 
mont,  and  acted  as  stage  manager  and  first  old  man,  when  Dr. 
Jones  assumed  the  management  of  the  house.  Mr.  Gilbert 
remaining  in  it  till  the  last,  and  on  its  final  night  at  the 
theatre,  June  23,  1843,  he  acted  Sir  Robert  Bramble,  and 
gave  a  farewell  address.  So  that  he  was  the  last  actor 
who  spoke  upon  the  stage  of  the  old  Tremont.  A  little 
while  before  the  closing  of  the  Tremont,  he  had  played  at 
the  Bowery  Theatre,  New  York,  having  been  expressly  en- 
gaged to  play  Peter  Bradley,  the  Sexton,  in  "Rookwood," 
and  made  his  appearance  there  again  in  June,  1839,  as  Sir 
Edward  Mortimer  in  "The  Iron  Chest."  His  next  engage- 
ment was  at  Pelby's  National  Theatre,  Boston,  the  only 
theatre  then  open  in  the  city.  From  there  he  went  to  the 
old  Federal  Street  Theatre,  when  that  once  famous  house, 
was  re-opened  by  Oliver  C.  Wyman,  speaking  the  opening 
address.     The  season,  a  disastrous  one,   closed  in   March, 

1847.  In  April,  that  year,  he  went  to  England,  and  ap- 
peared in  June,  at  the  Princess's  Theatre,  London,  as  Sir 
Robert  Bramble,  and  was  cordially  received  by  the  press 
and  public  of  the  British  capital,  and  accepted  an  engage- 
ment for  the  season  of  1847-8.  The  interim  he  passed  in 
Paris.  While  in  London,  he  visited  the  other  theatres  as 
frequently  as  he  could  studying  the  efforts  of  other  actors 
and  actresses.  After  leaving  London,  he  appeared  at  the 
Park  Theatre,  New  York,  Sep.  30,  1848,  as  Sir  Anthony 
Absolute,  remaining  until  its  destruction  by  fire,    Dec.    16, 

1848.  He  spoke  the  last  words  ever  uttered  on  that  stage, 
playing  the  part  of  Admiral  Kingston,  in  "Naval  Engage- 
ments." He  then  went  to  the  Bowery,  which  in  those  days, 
had  a  capital  Company,  and  there  he  remained  until  August, 
1851.  He  was  next  found  at  the  Howard  Atheneum,  and 
later  at  the  Chestnut  Street  Theatre,  Philadelphia,  remain- 
ing there  until  the  opening  of  the  Boston  Theatre  in  1854, 
when  he  was  again  engaged  by  Thomas  Barry.  On  the  open- 
ing night,  Sept.  11,  1854,  he  spoke  the  opening  address  and 
acted  Sir  Anthony  Absolute.  Here  he  remained  for  four 
consecutive  seasons,  playing  old  men  almost  exclusively, 
but  he  was  seen  in  two  of  the  most  widely  contrasted 
characters — Bottom  and  Caliban.  At  one  of  his  benefits 
in  Boston,  he  received  a  public  gift  of  a  costly  and  hand- 
some service  of  silver.  From  the  Boston  Theatre,  in 
1858,  he  went  to  the  Arch  Street  Theatre,  Philadelphia, 
and  remained  there  until  engaged  by  J.  W.  Wallack,  for  the 
new  theatre  at  the  corner  of  13th  Street  and  Broadway, 
New  York,  in  1861.  He  made  his  appearance  at  this  house, 
Sep.  22,  1862,  as  Sir  Peter  Teazle,  and  at  once  became  a 
favorite  with  the   New  York  public.     He  remained  in  the 

24 


Wallack  Stock  Company  at  both  houses,  13th  Street  and  30th 
Street,  until  it  ceased  to  exist.  The  50th  Anniversary  of  his 
First  appearance  on  the  Stage  was  appropriately  celebrated 
by  a  Benefit  Performance,  Dec.  5th,  1878,  and  a  public 
banquet  at  the  Lotus  Club.  He  acted  Sir  Peter  Teazle  on 
the  last  night  of  the  Wallack  Stock  Company,  May  5,  1888. 
He  made  a  characteristic  speech,  speaking  briefly  of  his 
career,  feelingly  of  the  kindness  the  public  had  ever  shown 
to  him,  and  sharply  of  the  contemporary  stage.  A  few  days 
later  (May  21st)  he  played  Polonius  in  the  great  perform- 
ance of  "Hamlet,"  at  the  Metropolitan  Opera  House,  New 
York,  for  the  benefit  of  his  old  manager,  Lester  Wallack. 
The  following  autumn,  he  acted  Sir  Anthony  in  "The  Rivals," 
for  a  short  time  at  the  5th  Avenue  Theatre,  New  York,  to 
the  Bob  Acres  of  Joseph  Jefferson,  and  the  Mrs.  Malaprop 
of  Mrs.  John  Drew,  and  his  last  appearance  on  the  Boston 
stage  was  Dec.  15,  1888,  at  the  Park  Theatre,  when  he  played 
Sir  Anthony.  He  died  June  17,  1889,  in  Boston,  conscious 
until  within  a  few  minutes  of  the  end.  He  was  fully  prepared 
and  met  death  unflinchingly.  He  was  buried  in  the  family 
plot  at  Forest  Hill  Cemetery. 

69.     FERON  (Madame  E.)     Portrait.     Henri  Heidemary, 
1837. 
Lithograph. 

Born  in  London,  1797,  made  her  first  appearance  on  the 
American  stage  as  a  "star,"  at  the  Park  Theatre,  New  York, 
as  Floretta  in  "The  Cabinet,"  27th  November,  1828.  At 
the  age  of  eight  she  astonished  the  visitors  at  Vauxhall  by 
her  facility  of  executing  the  most  difficult  music,  and  was 
familiarly  spoken  of  as  the  infant  Billington,  a  name  that 
then  stood  for  all  that  was  admirable  in  the  art.  In  Novem- 
ber, 1811,  she  first  appeared  at  Covent  Garden  Theatre  as 
Rosetta.  On  approaching  womanhood.  Mile.  Feron  visited 
Italy,  Germany,  and  France,  where  she  received  the  in- 
structions of  Pucitta  and  Rossini,  and  sung  in  company 
with  Pasta  and  Catalani,  whose  most  exalted  efforts  were 
not  sufficient  to  prevent  her  sharing  in  their  triumphs. 
During  her  continental  residence  she  married  a  Mr.  Glossop, 
but  the  union  proved  unhappy.  She  returned  to  England, 
and  resuming  her  maiden  name  with  the  title  of  Madame, 
made  her  debut  at  Drury  Lane  as  Florimante,  in  "Isidore  de 
Merida,"  November  29,  1827.  She  last  sung  at  Niblo's 
Garden,  New  York,  in  1833.  She  was  acknowledged  by  all  to 
stand  in  the  first  rank  of  vocalists,  but,  during  her  sojourn 
here,  the  country  was  filled  with  musical  strangers,  who  so 
distracted  the  patronage  of  the  pubHc,  that  her  skill  was 
not  rewarded  with  the  pecuniary  success  it  merited.     Her 

25 


first  appearance  in  Boston,  was  at  the  Tremont  Theatre,  in 
the  season  of  1828-9,  when  she  performed  in  "The  Barber  of 
Seville,"  "Beggar's  Opera,"  etc.  As  an  actress,  she  was 
fascinating;  and  in  private  life,  an  elegant  woman.  Shortly 
after  her  appearance  in  New  York,  in  1833,  she  returned  to 
England,  and,  with  declining  powers  and  advancing  years, 
gradually  took  a  receding  walk  in  her  profession.  She  died 
in  London,  in  1853. 

70.     CRAMER-PLUMER  (Mrs.)       Portrait.       M.   Swett 
invt,  et  Del. 
Lithograph.     Music  Sheet. 

She  made  her  first  appearance  in  America  on  the  30th  of 
September,  1828,  as  Giovanni  in  London,  with  tolerable 
success.  She  afterwards  played  Letitia  Hardy,  Harriet 
Arlington,  Caroline,  in  "The  Prize,"  &c.,  and  was  a  very 
creditable  actress  and  singer.  She  became  the  wife  of  Mr. 
Plumer.  She  made  her  first  appearance  in  Boston,  May  22, 
1829,  on  the  occasion  of  Walton's  benefit,  at  the  Federal 
Street  Theatre. 

7L     CALDWELL  (JAMES  H.)    Portrait.     Engd.  by  lUman 
&  Pilbrow  from  a  painting  by  Jarvis. 

James  H.  Caldwell  was  born  in  Manchester,  England,  1793, 
making  his  debut  there  as  The  Page  in  "Court  Scenes." 
Made  his  first  appearance  in  America  as  Belcour,  in  "The 
West  Indian,"  at  Charleston,  South  CaroHna,  in  November, 
1816,  under  the  management  of  Mr.  Holman,  by  whom  he 
was  brought  to  this  country.  In  1817,  he  managed  a  theatre 
in  Washington,  D.  C,  and  in  1818,  built  the  theatre  in  Peters- 
burgh,  Va.  In  January,  1820,  he  engaged  the  French  Theatre 
in  New  Orleans  for  English  performances.  In  1822,  he 
commenced  building  the  first  American  Theatre  there,  and 
opened  it  January  1,  1824.  In  1826,  he  built  the  Nash- 
ville Theatre.  In  1827,  he  converted  a  building  at  St.  Louis, 
Mo.,  into  a  theatre.  He  made  his  first  appearance  in  New 
York,  Sept.  2,  1828,  as  a  star,  at  the  Park  Theatre,  as  Belcour 
and  the  Three  Singles,  in  "Three  and  the  Deuce."  In  1828, 
he  completed  a  deserted  theatre  at  Natchez,  Miss.  He  built 
a  fine  theatre  at  Cincinnati,  and  opened  it  on  the  4th  of 
July,  1832.  In  1833,  he  sold  out  his  theatrical  circuit.  He 
commenced  the  great  St.  Charles  Theatre  in  New  Orleans, 
on  the  9th  of  May,  1835,  and  opened  it  on  the  30th  of 
November,  the  same  year.  It  was  destroyed  by  fire,  March 
13,  1842,  and  finally  abandoning  his  interest  in  the  cause 
of  the  drama,  retired  from  the  profession,  Jan.  14,  1843, 
making    his    farewell   bow    as    Vapid  in   "The    Dramatist." 

26 


He  afterwards  filled  important  public  positions  in  New 
Orleans,  where  he  long  resided,  his  untiring  industry  having 
secured  him  a  very  handsome  fortune.  He  was  twice  married, 
first  to  a  lady  of  Virginia,  and,  second,  to  Miss  Rowe,  daughter 
of  the  Southern  manager  of  that  name.  He  died  during  the 
war  of  the  Rebellion,  while  residing  temporarily  in  New  York, 
Sept.  11th,  1863,  at  the  age  of  70.  He  appeared  as  a  "star"  at 
the  Boston  Theatre,  in  1829,  and  afterwards  at  the  Tremont, 
the  same  season. 

72.  KEAN    (CHARLES    JOHN.)     Portrait.     Bust,    with 

autograph,   "Charles  John  Kean,  July   13th,   1833." 
Lithograph. 

73.  KEAN    (CHARLES.)     Portrait  as  Hamlet.     Facsim- 

ile   Autograph.     A.    E.    Chalon.     Edward    Morton, 
Lith.     J.  Graf,  Printer.     Pubd.  March  28th,  1838,  by 
J.  Mitchell. 
Colored  Lithograph. 

74.  [KEAN  (CHARLES.)]     Portrait,  as  Louis  XI.     Fac- 

simile   autograph.      From    a    drawing    by    C.    S.    L. 
Drawn  on  stone  by  R.  J.  Lane.     Printed  by  M.  N. 
Hanhart.     Pubd.  by  J.  Mitchell. 
India  Paper.     Lithograph. 

75.  KEAN  (CHARLES.)     Portrait,  as  Richard  Duke  of 

Gloucester.       Drawn  from  recollection.       Angelica 
Clarke  delt.     Weld  Taylor  Lith.     Pubd.  May,  1838, 
by  Thos.  McLean. 
Lithograph.     Finely  colored  by  hand. 

The  second  and  only  surviving  son  of  the  great  Edmund 
Kean,  was  born  at  Waterford,  Ireland,  Jany.  18,  1811.  He 
made  his  first  appearance  upon  the  stage  in  order  to  support 
his  mother  and  himself,  at  a  salary  of  ten  pounds  per  week, 
making  his  debut  at  Drury  Lane  Theatre,  as  Young  Norval, 
1st  of  October,  1827.  It  was  on  his  third  appearance  at  this 
theatre  that  he  first  met  Miss  Ellen  Tree,  his  future  wife, 
he  playing  Frederick,  and  she,  Amelia  Wildenheim,  in  "Lover's 
Vows."  Afterwards,  in  Glasgow,  in  Oct.,  1828,  his  father 
played  for  his  benefit  the  character  of  Lucius  Brutus,  the 
son  playing  Titus.  In  January,  1829,  he  appeared  again  at 
Drury  Lane  as  Romeo,  and  at  the  close  of  the  season  acted 
in  the  provinces,  and  appeared  at  the  Haymarket  Theatre, 

27 


London,  in  October,  where  he  made  his  first  decided  success 
as  Sir  Edward  Mortimer.  After  practising  industriously  in 
Great  Britain  and  on  the  Continent,  he  determined  to  visit 
America  and  made  his  first  appearance  at  the  Park  Theatre, 
New  York,  September  1,  1830,  as  Richard  the  Third, 
making  his  first  appearance  in  Boston,  in  the  same  character 
on  the  22nd  of  November,  1830,  at  the  Tremont  Theatre, 
and  when  he  made  his  entrance  on  the  stage,  he  was  received 
with  shouts  of  welcome;  and,  as  if  the  people  were  determined 
not  to  visit  the  sins  of  the  father  upon  the  child,  they  con- 
tinued their  applause  into  three  or  four  additional  rounds, 
when  the  first  had  subsided.  During  this  engagement  he 
appeared  as  Sir  Giles  Overreach,  Hamlet,  Shylock,  Reuben 
Glenroy,  etc.  Returning  to  England,  in  1833,  shortly  after 
his  arrival,  he  was  engaged  at  Covent  Garden  Theatre 
where,  on  the  night  of  March  25,  1833,  father  and  son 
acted  together  for  the  first  and  only  time  in  London.  The 
play  was  "Othello."  The  Moor,  by  Edmund  Kean,  lago,  by 
Charles  Kean,  and  Desdemona  by  Miss  Ellen  Tree.  After 
his  father's  death  he  played  at  Hamburg  for  a  short  period, 
with  a  company  of  which  Ellen  Tree  was  a  member,  returning 
to  England  he  made  a  provincial  tour,  which  proved  profit- 
able, his  popularity  increasing,  particularly  in  Dublin,  Edin- 
burgh, Liverpool,  Bath,  and  other  large  towns.  Mr.  Mac- 
ready  invited  him  to  join  the  Covent  Garden  corps,  but  he 
declined,  and  afterwards  accepted  an  engagement  at  Drury 
Lane  Theatre  for  forty-three  nights,  at  a  salary  of  £50  per 
night.  It  was  in  1838,  when  he  was  announced  in  the  bills 
to  appear  for  the  first  time  in  London,  as  Shylock,  on  the  last 
night  of  this  notable  engagement.  After  touring  the  country, 
he  returned  to  London.  His  services  were  now  transferred 
to  the  Haymarket  Theatre,  London,  for  twelve  nights,,  for 
which  he  received  £50  a  night,  and  a  benefit.  The  engage- 
ment, so  successful  it  proved,  was  extended  to  22  nights. 
In  September,  1839,  he  appeared  at  the  National  Theatre, 
New  York,  which  was  unluckily  burned  down  in  the  midst 
of  his  first  series  of  performances.  He  appeared  again  in 
Boston  at  the  Tremont  Theatre  in  1839,  and  attracted  good 
houses.  He  returned  to  England  and  played  at  the  Hay- 
market  Theatre,  London,  in  1840,  for  30  nights.  On  Jan. 
9,  1842,  he  was  married  in  Dublin,  to  Miss  Ellen  Tree.  In 
1843,  he  concluded  his  3  years'  contract  at  the  Haymarket. 
In  1845,  he  again  visited  this  country  and  with  his  accom- 
plished wife,  made  a  triumphal  tour  throughout  the  Union, 
appearing  at  the  Boston  Theatre  on  the  19th  of  October, 
1846,  opening  with  "The  Gamester."  Since  that  period, 
he  has  played  at  the  Haymarket,  and,  in  conjunction  with 
Mr.  Keeley,  managed  the  Princess's  Theatre,  London, 
where  he  devoted  himself  to  spectacular  revivals  of  Shake- 
speare and  Byron.     These  reproductions  were  projected  and 

28 


executed  on  a  scale  of  expense  which  resulted  in  a  loss  to  the 
management  of  many  thousand  pounds;  but  they  placed 
the  reputation  of  Charles  Kean  on  an  enduring  basis.  During 
this  period,  moreover,  he  produced  some  new  plays,  one 
being  eminently  successful,  that  of  "Louis  XI,"  adapted  by 
Mr.  Dion  Boucicault  from  Casimir  Delavigne's  tragedy. 
Mr.  Kean's  performance  of  this  character  was  regarded  as 
his  chef  d'oeuvre.  He  made  his  last  appearance  in  New  York, 
in  April,  1865,  at  the  Broadway  Theatre,  and  here  he  pre- 
sented Louis  XI,  for  the  first  time  in  America,  and  his  per- 
formance was  pronounced  faultless.  He  was  at  the  Boston 
Theatre,  when  on  the  10th  of  Apr.,  1866,  he  was  taken  ill 
and  discontinued  playing.  This  being  his  last  appearance 
upon  the  stage,  in  this  city.  He  made  his  farewell  appearance 
in  New  York,  16th  of  April,  1866,  in  the  characters  of 
Louis  XI,  and  Mr.  Oakley.  His  last  appearance  upon  the 
stage  was  at  the  New  Prince  of  Wales  Theatre,  Liverpool, 
May,  1867.    He  died  in  London,  Jan.  22,  1868. 

76.  BURKE  (Master.)     Engraved  Portrait.    T.  Wageman 

delt.     J.    Rogers    sc.     Engraved    for    the    Dramatic 

Magazine. 

77.  BURKE  (Master.)     Aged  8  years.     Portrait.     From  a 

sketch    by    W.    Allison.     Ingrey    &    Madeley    liths. 
Lithograph. 

78.  BURKE    (Master.)     Portrait,    as    Bluster    Bubble. 

Drawn  by  Wageman  and  Etched  by  Rd.  Cruikshank. 
Engraved  by  P.  Roberts.     Pubd.  by  Wm.  Kenneth. 
Colored. 

79.  BURKE  (Master)   [JOSEPH  BURKE.]     Portrait,  as 

Jack  Ratline.     Drawn  by  Wageman,  &  Etched  by 
Rd.   Cruikshank.     Engraved  by  P.   Roberts.     Pubd. 
by  Wm.  Kenneth. 
Colored. 

80.  [BURKE  (Master.)]     Caricature  by  D.  C.  Johnston, 

"Pressure   of   the   Times,"    showing   crush  of  the 
people  at  Boston  Theatre  to  obtain  tickets  for  Master 
Burke's  performances.     Etching  also  as  Dr.  O'Toole 
in  "The  Irish  Tutor."     Wood' cut. 
Both  on  one  sheet. 

29 


81.  BURKE    (Master.)     Portrait,    as    Signor    Sordini. 

Drawn  by  Wageman,  &  Etched  by  Rd.  Cruikshank. 
Engraved  by  P.  Roberts.     Pubd.  by  Wm.  Kenneth. 

82.  BURKE  (Master.)  Portrait,  as  Mr.  Terence  O'Leary, 

Drawn  by  Wageman.     Etched  by  Rd.   Cruikshank. 
Engraved  by  P.  Roberts.     Pubd.  by  Wm.  Kenneth. 
Colored. 

Bern  in  Dublin,  Ireland,  in  1818,  made  his  debut  in  London, 
Eng.,  June  4,  1825,  at  the  Haymarket  Theatre,  as  Dr. 
O'Toole,  in  "The  Irish  Tutor."  He  made  his  first  appear- 
ance in  America,  at  the  Park  Theatre,  New  York,  on  the  22nd 
of  November,  1830,  as  Young  Norval  in  "Douglas,"  and  after 
the  first  piece  he  led  the  orchestra  in  the  overture  to  "Guy 
Mannering,"  and  concluded  by  playing  Terry  O'Rourke, 
in  which  he  introduced  a  comic  song.  During  this  engage- 
ment he  played  a  variety  of  parts.  Besides  leading  various 
overtures,  he  played  several  solos  on  the  violin,  among 
which  were  some  difficult  variations  by  De  Beriot,  and  a 
fine  concerto  by  J.  Barton.  His  success  was  of  the  most 
decided  character,  his  nine  nights  of  performing  averaging 
$1200  each.  As  a  prodigy,  in  both  music  and  drama  he  has 
been  unapproached  by  any  child  who  has  trodden  the  Ameri- 
can stage,  unless  it  was  Clara  Fisher.  He  made  his  first 
appearance  upon  the  stage,  at  the  Theatre  Royal,  Dublin, 
in  May,  1824,  in  the  characters  of  Tom  Thumb  and  Lingo, 
when  he  was  but  5  years  old,  and  his  success  was  so  great 
that  he  immediately  after  appeared  at  Liverpool,  Margate, 
Brighton,  and  at  the  Haymarket,  and  finally  at  the  Surrey 
Theatre,  under  R.  W.  EUiston's  management,  where  his 
talents  had  every  opportunity  for  the  most  varied  display. 
For  several  seasons  in  America  he  proved  a  most  attractive 
star,  but,  his  popularity  waning,  he  revisited  Europe  in 
1835,  and  studied  music  thoroughly  under  the  best  masters. 
He  returned  to  America  and  reappeared  at  the  Park  Theatre, 
New  York,  Dec.  29,  1836.  He  went  through  a  round  of 
his  old  characters,  and  took  his  benefit,  January  6,  1837, 
as  Mawworm,  and  presented  a  new  protean  farce  in  which 
he  displayed  his  musical  accomplishments  in  a  buffa  scena, 
with  performances  on  violin,  piano,  flute,  accordeon,  guitar, 
flageolet,  clarionet  and  trombone.  The  piece  was  entitled, 
"Old  Heads  on  Young  Shoulders,"  in  which  he  played  the 
part  of  Sholto.  His  last  theatrical  appearance,  that  we 
remember  was  at  Wallack's  National  Theatre,  New  York, 
in  January,  1839.  After  a  short  retirement  he  re-appeared 
in  the  concert-room,  acknowledged  as  one  of  the  finest  vio- 
linist of  the  age,  and  assisted  in  the  entertainments  of  Jenny 

30 


Lind,  JuUien,  and  Thalberg.  He  made  his  first  appearance 
in  Boston,  Monday,  Jany.  31,  1831,  at  the  Tremont  Theatre, 
as  Young  Nerval,  leading  the  orchestra  between  the  plays. 
His  engagement  extended  into  March,  during  which  he 
played  a  variety  of  parts  and  his  success  was  immense.  No 
other  word  can  convey  the  cordiality  with  which  he  was 
welcomed.  Balls  and  parties,  sleigh  rides  and  social  gather- 
ings, were  dispensed  with,  the  theatre  was  the  centre  of  the 
fashionable  and  literary  world  of  Boston,  and  the  boxes  were 
filled  to  their  utmost  capacity.  A  portion  of  the  box  tickets 
were  sold  at  auction  by  Messrs.  Coolidge  &  Haskell.  The 
sum  of  $1344  was  paid  in  premiums  for  the  seven  nights; 
and  the  amount  of  the  advanced  rates  for  nineteen  nights 
was  $2174.50,  exclusive  of  the  whole  receipts,  which  did  not 
fall  far  short  of  $20,000.  After  leaving  the  concert  stage, 
he  studied  law,  and  was  admitted  to  the  bar,  but  he  never 
followed  the  law  as  a  profession.  For  a  number  of  years  he 
spent  the  winters  in  New  York  and  Washington,  and  the 
summers  at  his  home  in  Batavia,  N.  Y.  He  was  unmarried, 
and  died  at  the  Park  Avenue  Hotel,  New  York  City,  Jany. 
19,  1902,  aged  87. 


83.     ANDERSON  (J.  R.  Mr.)   Portrait,  as  Henry  Bertram. 
Aquatint.     Proof. 

Mr.  Joshua  R.  Anderson  and  his  wife.  Miss  Bartolozzi  were 
announced  to  appear  for  the  first  time  in  America  at  the  Park 
Theatre,  New  York,  on  the  13th  of  Oct.,  1831,  in  "Guy  Manner- 
ing,"  and  it  was  feared  from  some  remarks  made  by  him  on  his 
passage  hither,  that  a  tumult  would  be  the  result.  Mr.  A.  was 
received  on  his  entrance  with  hisses,  shouts  of  "off!"  "off!"  etc., 
mingled  with  tokens  of  applause.  The  stage  manager,  Mr. 
Thomas  Barry  endeavored  to  propitiate  the  audience,  but 
he  failed  to  do  so.  After  frequent  fruitless  attempts  to 
obtain  a  truce,  the  play  proceeded,  mainly  in  dumb  show. 
In  the  papers  the  following  morning,  Mr.  Anderson  published 
a  statement  to  the  public;  the  managers  deeming  this  an 
ample  apology,  for  his  remarks,  announced  his  appearance 
for  Saturday,  Oct.  15,  the  theatre  was  entirely  filled  with 
males,  and  it  was  manifest  before  the  raising  of  the  curtain 
that  there  were  two  parties  present,  those  in  his  favor  and 
those  opposed.  The  first  act  passed  without  disturbance, 
save  an  attempt  to  hiss  Mr.  Barry,  which  was  promptly 
quelled.  Mr.  Barry  making  a  brief  speech.  On  the  rise  of 
the  curtain  for  the  second  act,  Mr.  Simpson,  the  manager, 
came  forward  and  expressed  the  willingness  of  the  manage- 
ment to  abide  by  the  decision  of  the  public,  and  if  it  were 
the  wish  of  the  house  that  Mr.  Anderson  should  be  with- 
drawn, let  it  be  distinctly  manifested,  and  he  pledged  him- 

31 


self  to  comply,  "Let  him  be  withdrawn!"  "Send  him  home!" 
"Yes!"  "Yes!"  came  thundering  from  all  parts  of  the  house. 
Mr.  Jones  was  immediately  substituted  and  the  performance 
went  on.  Mr.  Anderson  published  statements  and  affidavits, 
which  went  to  prove  that  the  punishment  was  altogether  un- 
merited; and  several  papers  which  had  been  opposed  to  Mr.  A. 
pronounced  him  an  injured  man.  He,  however,  concluded  not 
to  contest  the  question  before  the  bar  of  public  opinion  in 
New  York,  but  accepted  an  engagement  in  Boston,  ap- 
pearing at  the  Tremont  Theatre,  Nov.  3,  1831,  as  Henry 
Bertram  in  "Guy  Mannering,"  his  wife,  Miss  Bartolozzi,  as 
Julia  Mannering,  when  the  house  was  filled  to  overflowing. 
Before  the  curtain  rose,  Mr.  Barrett  came  forward,  stating 
it  was  not  the  intention  of  the  management  to  force  Mr. 
Anderson  upon  the  Boston  public;  that  the  statement  he 
had  published,  was  substantiated  by  the  oaths  of  himself 
and  three  others,  and  had  not  been  denied  or  questioned ; 
the  excitement  in  New  York  being  unjustifiable.  Mr.  Bar- 
rett was  warmly  applauded,  and  the  play  proceeded.  On 
Mr.  Anderson's  appearance  he  was  received  with  the  most 
uproarious  applause,  mingled  with  a  few  faint  hisses.  The 
house,  after  a  lapse  of  some  minutes,  became  orderly,  every- 
thing passed  on  well  until  the  third  act  was  nearly  through, 
when  a  crowd  from  the  outside,  forced  a  way  into  the  bars 
of  the  pit.  The  cry  of  fire  was  raised,  and  confusion  pre- 
vailed. The  musicians  fled,  and  for  a  time  the  affair  looked 
serious.  The  actresses  were  so  much  alarmed  that  they 
left  the  theatre.  Order  being  restored,  the  audience  called 
for  the  play  to  continue.  The  managers  were  obliged  to 
pass  to  the  farce,  and  no  further  interruption  was  made. 
Mr.  Anderson  published  a  card,  thanking  the  public  for  their 
kindness,  and  finished  the  engagement  successfull3^  He 
appeared  as  Captain  Malcolm  to  Mrs.  Anderson's  Stella 
Clifton,  in  "The  Slave;"  and  as  Tom  Tug  in  "The  Water- 
man." He  again  attempted  to  appear  in  New  York,  at  the 
Richmond  Hill  Theatre,  but  was  not  allowed  to  sing,  and 
shortly  after  he  returned  to  Europe  with  his  wife,  formerly 
Josephine  Bartolozzi,  a  sister  of  Madame  Vestris.  Mrs.  A. 
died  in  London,  June  11,  1848. 


84.  BARTOLOZZI  (Miss.)     Portrait,  in  oval.     Drawn  on 

stone  by  Lynch,  from  a  painting  by  T.  Warrington. 
Printed  by  Engelmann,  Graf,  Coindet  &  Co. 
Lithograph.     India  paper. 

85.  BARTOLOZZI  (Miss.)     Engraved  Portrait,  as  The 

Page  in  John  of  Paris.     J.  Bailey,  Publisher,  1828. 
32 


86.  SINCLAIR  (JOHN.)     Portrait,  "Mr.  Sinclair  of  the 

Theatre  Royal,  Covent  Garden."  Painted  by  G. 
H.  Harlow,  Engd.  by  Henry  Meyer.     London,  ISIL 
Mezzotint. 

87.  SINCLAIR     (Mr.)      [JOHN.]      Engraved     Portrait. 

Engd.  by  Wm.  Read,  from  a  drawing  by  J.  Stewart. 
Pubd.  1823,  for  La  Belle  Assemblee. 
Colored  by  Hand. 

88.  STEPHENS  (Miss)  and  (SINCLAIR,  Mr.)     Portraits, 

as  Mandane  and  Arbaces,  in  the  splendid  and  poptdar 
opera  of  Artaxerxes. 
Colored  Etching. 

89.  SINCLAIR   (Mr.)    [JOHN.]     Engraved   Portrait,   as 

Palmepo,    in    The    Earthquake.     Pubd.   by    Dyer 
Senr.,  1828. 
Colored  by  hand. 

90.  SINCLAIR  (Mr.)  [JOHN.]     Portrait,  as  Prince  Or- 

lando.    J.  Buckley  delt.     Printed  by  C.  Hullmandel. 
Pubd.  by  Wm.  Chapman. 
Lithograph. 

John  Sinclair  was  born  in  Edinburgh,  December  26,  1789. 
Made  his  debut  at  Covent  Garden  Theatre,  London,  Sep.  20, 
1811,  as  Don  Carlos,  in  "The  Duenna,"  and  was  received 
with  great  applause.  On  the  third  night  he  performed 
Prince  Orlando,  in  which  he  combined  compass  of  voice  with 
such  strength,  sweetness,  and  flexibility,  that  he  reached  the 
highest  degree  of  popular  favor.  The  distinctness  of  his 
articulation,  the  felicity  of  his  cadenzas,  and  the  rapidity 
of  his  shake,  were  deservedly  the  theme  of  universal  appro- 
bation. In  his  representation  of  Apollo  in  "Midas,"  in  which 
his  singing  of  "Pray  Goody,"  was  such  as  to  excite  an  ad- 
miration bordering  on  enthusiasm.  He  performed  61  nights, 
and  sung  the  song  three  times  every  night,  at  that  time  un- 
exampled in  the  annals  of  the  theatre.  Previous  to  his  ap- 
pearance on  the  London  boards,  however,  he  went  to  Mar- 
gate, having  assumed  the  name  of  Mr.  Noble,  and  performed 
a  few  nights  preparatory  to  his  debut.  He  has  also  played 
in  Bath,  Bristol,  Liverpool,  Edinburgh,  receiving  the  most 
liberal   encouragement.      He   made   his   first   appearance  in 

33 


America  as  Prince  Orlando,  in  "The  Cabinet,"  at  the  Park 
Theatre,  New  York,  Sep.  24,  1831,  and  reappeared  in  New 
York  for  several  seasons  after.  His  first  appearance  in  Boston 
was  at  the  Tremont  Theatre,  Feby.  6,  1832,  as  Francis 
Osbaldiston,  in  "Rob  Roy."  He  was  pronounced  and  un- 
doubtedly was,  the  most  accomplished  male  singer  who  had 
then  appeared  on  the  boards.  After  his  engagement,  he 
gave  concerts  with  great  success.  He  returned  to  England, 
and  died  there  Sep.  22,  1857.  He  was  the  father  of  Mrs. 
Edwin  Forrest. 

91.  WARREN  THEATRE  [Boston],  View  of. 
Pen  and  Ink  Drawing.     Framed. 

92.  PLAYBILL,  Warren  Theatre,  Corner  of  Portland  and 

Traverse  Streets.  Opening  Night,  July  3rd,  1832. 
Victorine!  or  I'll  Sleep  on  it,  after  which  A  Fancy 
Hornpipe,  by  Miss  Honey.  To  conclude  with  The 
Spoiled  Child. 

This  theatre  was  remodelled  from  the  American  Amphi- 
theatre, which  had  been  opened  Feb.  27,  1832,  by  William 
and  Thomas  L.  Stewart  for  equestrian  performances.  Re- 
constructed in  1836  by  Mr.  Pelby  and  reopened  Aug.  15, 
1836,  as  the  National  Theatre,  and  was  so  called  until 
Sep.  8,  1856,  when  it  was  opened  as  Willard's  National  Thea- 
tre; Dec.  10,  1856,  it  was  opened  as  the  People's  National 
Theatre.  Beginning  in  January,  1862,  it  was  known  as  the 
Union  Concert  Hall,  and  devoted  largely  to  variety  perform- 
ances. The  season  of  1862-63,  Mr.  English  was  the  manager 
and  the  house  resumed  its  former  name  of  National  Theatre. 
Dramatic  and  variety  entertainments  were  given  up  to  and 
including,  March  23,  and  the  theatre  was  burned  March  24. 
The  stage  fixtures,  to  a  considerable  extent,  had  been  re- 
moved to  the  new  Tremont  Theatre  upon  the  opening  of  that 
house  in  the  early  part  of  1863. 

93.  RAVEL     (GABRIEL.)      Portrait.       Bust.       Lith.    by 

F.  Davignon.     From  Ambrotype  by  Brady. 
Lithograph.     Folio. 

94.  RAVEL   (GABRIEL.)    Portrait.     Vignette.     Facsimile 

autograph.     AB.    Pubd.  by  E.  Dexter. 

95      RAVELS    (The)    [GABRIEL,    FRANCOIS,    ANTOINE 
and  JEROME.]     Portraits.     Busts.     Group  Photo- 
graph. 
Colored  by  hand, 

34 


96.     RAVEL  TROUPE.     Portraits.     Francois  Ravel,  Man- 
guin,   Paul  Brillant,  Joseph  Marzetti,   Yrca  Mathias 
and  Madam  Marzetti.     Group. 
Photograph  from  life.     Framed. 

The  Ravels  on  the  16th  of  July,  1832,  this  famous  family  of 
gymnasts,  rope-dancers  and  pantomimists,  appeared  for 
the  first  time  in  America  at  the  Park  Theatre,  New  York. 
The  company  consisted  of  10  performers.  Gabriel  was  born 
in  1810,  Antoine  in  1812,  Jerome  in  1814,  and  Francois  in 
1823.  Their  first  public  appearance  was  in  Paris,  in  1825. 
They  also  appeared  in  London,  at  the  Strand  Theatre,  and 
at  Vauxhall  Gardens,  prior  to  their  appearance  in  this 
country.  They  first  appeared  in  Boston,  Nov.  16,  1832,  at 
the  Tremont  Theatre,  with  great  success,  their  performances 
consisting  of  rope  dancing  feats  of  strength  and  pantomime 
ballets  in  which  young  Gabriel  sustained  the  principal 
characters.  They  then  toured  the  South  and  West,  and  in 
183-1,  returned  to  Europe,  where  they  divided  into  two 
troupes,  Jean  Ravel,  Dominique  and  Marzetti,  touring  Italy 
and  Spain,  and  the  three  brothers  proceeded  to  London, 
appearing  at  Drury  Lane,  Jan.  5,  1836.  In  Sept.,  1836,  they 
started  for  New  York,  where  they  played  from  Oct.  1836, 
till  July,  1837.  They  shortly  afterwards  returned  to  France, 
and  again  in  1842,  returned  to  New  York,  and  opened  at 
Niblo's,  where  for  many  successive  seasons,  they  proved 
profitable  attractions.  On  the  22nd  of  October,  1847, 
Gabriel,  the  finest  of  the  troupe,  announced  his  farewell 
benefit  at  Palmo's  Opera  House,  Chambers  Street,  New 
York,  and  soon  after  its  principal  members  started  for 
home.  In  1848,  Francois  returned  bringing  the  Martinetti 
family  with  him.  In  1849  Antoine  and  Jerome  returned 
to  the  States,  and  with  the  addition  of  the  Lehman  Family, 
Mile.  Bertin,  and  Paul  Brillant,  most  happily  inaugurated 
the  season  of  Niblo's  new  theatre,  in  1849.  On  June  2,  1851, 
Gabriel  returned  to  the  scene  of  his  former  triumphs,  un- 
diminished cither  in  ability  or  attraction.  In  1857-8, 
they  played  an  engagement  at  Niblo's  of  300  nights,  giving 
4  performances  a  week.  In  Sept.  1865,  Gabriel  and  Antoine 
reappeared  at  Niblo's,  with  Young  America,  a  juvenile 
wonder,  Signora  Pepita,  Madame  Marzetti,  and  several 
other  members  of  their  former  companies,  renewing  all  the 
triumphs  of  their  earlier  years.  Notwithstanding  the 
dangerous  and  daring  nature  of  many  of  their  feats, 
we  have  never  heard  of  any  fatal  accident  having  occurred 
to  any  member  of  the  family  or  troupe,  with  the  ex- 
ception of  two  ballet  dancers,  Adelaide  Lehman  and  Pauline 
Genet,  who  at  different  periods  came  to  their  deaths  in  a  most 
painful  and  shocking  manner,  by  their  dresses  taking  fire. 

35 


Leon  Javelli,  a  rope  dancer,  of  the  highest  elegance  and 
ability,  died  of  cholera,  July  13,  1854,  aged  thirty-three  years. 
Paul  Brillant,  a  ballet-dancer  of  skill,  and  a  great  favorite 
with  the  public,  died  in  New  York,  May  15,  1864.  Joseph 
Marzetti,  a  most  extraordinary  contortionist  and  a  very 
dexterous  and  faithful  representative  of  the  monkey  tribe, 
died  in  New  York,  Sept.  23,  1863,  from  bursting  a  blood- 
vessel, while  engaged  in  rehearsing  at  the  then  so-called 
New  York  Theatre,  formerly  Wallack's  old  establishment. 
Gabriel  Ravel,  died  at  Toulouse,  France,  April  14,  1882. 
"Young  America"  was  a  son  of  a  stage  carpenter  at  Niblo's 
Garden,  and  had  made  his  debut  when  a  child  with  the  Ravels, 
in  that  theatre,  as  a  tight-rope  performer.  Dec.  1,  1856, 
Gabriel  had  conceived  such  a  fondness  for  him  that  he  took 
him  under  his  protection  and  carried  him  to  France  when 
he  went  into  retirement.  When  Leotard  created  a  great 
sensation  in  Europe  by  his  performance  of  the  triple  trapeze 
act,  "Young  America"  practiced  this  feat  and  soon  excelled 
in  it.  It  was  to  place  him  again  before  the  American  public 
that  Gabriel  emerged  from  retirement  and  an  engagement 
was  made  at  Niblo's  Garden,  and,  notwithstanding  that  the 
act  had  been  previously  performed  by  the  Hanlons  in  the 
Academy  of  Music,  New  York  City,  "Young  America"  created 
no  little  sensation  by  his  grace  and  daring.  Gabriel  Ravel, 
besides  being  an  excellent  pantomimist  and  dancer,  and  a 
skilful  tight-rope  performer,  was  the  chief  business  man  of 
the  troupe. 

97.  ADAMS  (Miss)  [ANNA  MATILDA.]     Portrait,  in  the 

Character  of  Zulima  in  Ballet-Dance  of  Zelico. 
J.  Martyn,  sc.     From  Hibernian  Magazine. 

98.  BARRYMORE  (W.  Mrs.)     Portrait,  as  Maria  Grazie. 

West  fee.     Pubd.   1829,  by  W.  West.     Etching. 
Colored  by  Hand, 

Mrs.  Barrymore  made  her  debut  in  America  at  the  Park 
Theatre,  New  York,  Aug.  29,  1831,  when  she  appeared  as 
Pipino,  in  the  "Dumb  Savoyard."  She  was  known  on  the 
English  stage  as  early  as  1803,  as  Miss  Adams,  a  dancer; 
and  after  her  marriage  attained  distinction  as  a  melo-dra- 
matic  actress  of  the  highest  grade.  After  playing  a  few 
months  at  the  Park,  she  went  to  the  Bowery  Theatre  making 
her  last  appearance  in  New  York  there  on  1st  of  October, 
1832.  She  made  her  first  appearance  at  the  Tremont,  on  the 
17th  of  December,  1832.  She  had  been  playing  at  the  War- 
ren Theatre  in  this  city  in  October.  She  appeared  as  the 
Wife  and  Widow  in  the  "Soldier's  Wife  and  Soldier's  Widow," 

36 


and  during  the  season  made  a  great  hit  as  Fenella  in  the 
Opera  of  Masaniello.  Her  husband  died  in  Boston,  Feb. 
16,  1845,  and  his  widow  taught  dancing  here  for  several 
years;  she  finally  returned  to  England  where  she  died, 
December  30,  1862,  aged  about  70,  or  according  to  a  news- 
paper statement,  nearly  80  years  of  age,  the  latter  being 
most  likely.  The  portrait  of  Miss  Adams,  shown,  was  made 
in  1803,  and  she  was  then  in  her  18th  year. 

99.  HILL  (GEO.  H.)  Comedian.  Engraved  Portrait. 
Geo.  W.  Twibil  Pinxt.  T.  Kelly  sc.  Painted  and 
Engd.  for  the  New  York  Mirror. 

100.  HILL   (Mr.)     Portrait,    as   "Hiram    Dodge,"    in   the 

"Yankee     Pedlar."       Quotation.       Pubd.     by     J. 
Childe. 
Lithograph.     Printed  in  colors. 

101.  HILL  (Mr.)     Portrait,  as  "Major  Wheeler"  in  the 

Farce  of  "New  Notions."    J.  W.  Childs  del.    Madeley 
lith. 

Lithograph.     Printed  in  colors. 

George  Handel  Hill  (commonly  called  Yankee  Hill)  was 
born  in  Boston,  Oct.  9,  1809.  This  gentleman,  who,  as  the 
representative  of  the  pure,  simple,  genuine  Yankee  character, 
outstripped  all  competition,  had  been  fascinated  at  the  age 
of  fifteen  by  the  attractions  of  the  stage,  and  being  then 
in  a  jeweler's  establishment,  adjoining  the  theatre,  found 
means  to  gratify  his  penchant  in  1824,  by  appearing  as  a 
supernumerary  at  the  Chatham  Theatre,  New  York.  In 
1825,  he  saw  Alexander  Simpson  in  the  Yankee  part,  Jona- 
'  than  Ploughboy,  in  "The  Forest  Rose,"  when  he  deter- 
mined to  make  the  Yankee  peculiarities  his  especial  study. 
Shortly  afterwards  he  was  engaged  for  a  tour  in  western 
New  York,  during  which,  by  continual  practice  he  acquired 
ease  and  confidence,  though  rarely  having  the  opportunity 
of  presenting  himself  in  his  favorite  lines.  In  Brooklyn,  N.  Y., 
in  1826,  he  gave  his  first  entertainment  of  songs,  stories,  &c., 
and  met  with  considerable  applause.  In  1828,  he  married, 
and  retired  from  the  stage,  in  fulfilment  of  one  condition  of 
the  match,  but  his  heart  was  still  engaged  with  the  drama, 
and  opposition  being  withdrawn,  he  resumed  his  profession 
a  few  months  after,  at  the  Albany  Theatre,  and  afterwards 
appeared  at  Peale's  Museum,  New  York,  and  played  at 
Charleston,  Philadelphia,  &c.,  in  the  last  named  city,  he 
made  his  first  hit  as  Jonathan  Ploughboy,  and  went  through 

37 


the  season  with  such  success  that  in  the  fall  of  1832  he  com- 
menced a  starring  tour,  playing  in  various  cities.  On  the 
14th  of  Nov.  1832,  he  appeared  on  the  Park  Theatre  stage 
for  the  first  time  in  a  Yankee  story.  He  soon  after  played 
Solomon  Swop  and  Jonathan,  appearing  as  Solomon  at 
the  Warren  Theatre,  Boston,  Jan.  14,  1833.  After  playing 
throughout  the  Union  with  unvarying  success,  Mr.  Hill 
visited  Europe  and  appeared  at  Drury  Lane  Theatre, 
London,  Nov.  1,  1836,  and  opened  in  a  new  piece,  written 
by  Mr.  Bernard,  specially  for  his  debut.  The  "Yankee 
Pedlar"  was  the  result,  and  in  this  piece  Mr.  Hill  made  his 
first  bow  to  a  British  audience.  Mr.  Edwin  Forrest  was  acting 
in  the  theatre,  meeting  with  triumphant  success.  On  the 
fulfilment  of  this  engagement  he  toured  Great  Britain,  and 
this  aflforded  him  with  an  increase  of  both  fame  and  fortune. 
On  his  return  to  the  States  he  met  with  a  warm  reception 
from  the  public  wherever  he  appeared,  until  symptoms  of 
ill  health  induced  a  second  visit  to  Europe,  and  in  1838 
he  appeared  with  brilliant  success  at  the  Haymarket,  and 
other  English  theatres,  and  gave  two  successful  character- 
istic entertainments  in  Paris.  After  this,  at  one  time,  he 
practised  dentistry,  in  New  York,  having  in  his  leisure  in- 
tervals, carefully  studied  the  art,  as  well  as  the  science  of 
anatomy  and  practice  of  surgery,  in  the  College  of  Physicians 
and  Surgeons,  but  he  soon  abandoned  the  pursuit.  In  1847 
he  purchased  a  residence  at  Batavia,  N.  Y.,  whence  he 
emerged  with  regret  to  fulfill  the  numerous  engagements 
that  were  offered  him  from  all  parts  of  the  country.  In 
August,  1849,  he  gave  his  last  entertainment  in  the  height  of 
the  fashionable  season  at  Saratoga,  N.  Y.,  where  he  was  so- 
journing for  the  benefit  of  his  health.  To  fulfill  his  promise 
to  his  patrons,  he  rose  from  a  sick  bed,  to  which  he  returned 
only  to  be  carried  to  his  grave.  He  died  on  the  27th  of 
September,  1849,  before  he  had  completed  his  40th  year, 
and  was  buried  in  the  cemetery  at  Saratoga. 

102.  KEMBLE   (CHARLES.)       Portrait.     Vignette.     Fac- 

simile autograph.     Plate  15  of  a  set  of  studies  of  him. 
R.  J.  Lane.     M.  &  N.  Hanhart,  Lith.  Printers.    Pubd. 
by  Colnaghi  &  Puckle,  1840. 
Lithograph.     Proof. 

103.  [KEMBLE     (CHARLES)].     Portrait,     as    Benedick. 

Quotation.     Much    Ado    About    Nothing,    Act.    5, 
Scene  3.     Lane.     Plate  4  of  a  series  of  studies  of  him. 
J.  Graf,  printer.     Pubd.  by  Colnaghi  &  Puckle. 
Lithograph. 

38 


104.  KEMBLE  (Charles.)     Portrait,  as  Cassio.     Quotation, 

Othello,  Act  2,  Sc.  3.     Facsimile  autograph.     R.  J.  L. 
J.  Graf  Printer.     Pubd.  by  J.  Mitchell. 
Lithograph  printed  in  color. 

105.  KEMBLE  (CHARLES.)  Portrait,  as  Charles  Surface, 

in   The   School  for   Scandal.      Drawn,    Etched  by 
Richd.  Dighton,  1821.     Pubd.  by  McLean. 

106.  [KEMBLE  (Charles.)]     Portrait.     Painted  by  Harlow. 

Engd.  by  Lupton. 
Mezzotint.     Proof  before  all  letters. 

107.  [KEMBLE     (CHARLES.)]     Portrait,     as     Macduff. 

Quotation  Macbeth,  Act  5,  Sc.  7.     Plate  8  of  a  series 
of  studies  of  him,  R.  J.  Lane.     Pubd.  by  Colnaghi  & 
&  Puckle. 
Lithograph.     Proof. 

108.  [KEMBLE    (CHARLES.)]     Portrait,    as    Mercutio. 

Quotation,  Romeo  and  Juliet,  Act  1,  Sc.  4.     Lane. 
Plate  7  of  a  series  of  studies  of  him.    J.  Graf,  printer. 
Pubd.  by  Colnaghi  &  Puckle. 
Lithograph.     Proof. 

Mr.  Charles  Kemble  was  born  at  Brecknock,  Wales,  Nov. 
25,  1775,  and  was  the  youngest  son  of  Roger  and  Sarah 
Warde  Kemble.  At  the  age  of  thirteen,  Charles  entered 
the  Douay  College  in  Flanders,  where  he  remained  three 
years.  On  returning  to  England  he  received  an  appointment 
in  the  Post  Office,  which  he  resigned  for  a  position  on  the 
stage,  and,  with  little  preparation,  made  his  debtU  at  Shef- 
field, England,  in  1792,  as  Orlando  in  "As  You  Like  It." 
After  playing  at  Newcastle  and  Edinburgh,  he  made  his  first 
appearance  in  London,  at  Drury  Lane,  on  the  21st  of  April, 
1794,  as  Malcolm  in  "Macbeth,"  and  Papillion  in  "The 
Liar."  He  continued  at  this  theatre  in  winter,  and  at  the 
Haymarket  during  the  summer  seasons,  until  1802,  when  ill 
health  compelled  his  retirement.  In  1803,  he  was  engaged 
at  Covent  Garden,  where  his  brother  John  was  manager, 
and  where  he  principally  continued  until  his  visit  to  America, 
and  of  which  establishment  at  one  time  he  had  sole  control. 
Hi.'^  London  reputation  was  founded  principally  on  his 
Hamlet,   Romeo  and   Pierre,  in  tragedy,   which,   while  the 

39 


semblance  of  youth  remained,  he  represented  with  extraor- 
dinary effect,  and  on  his  Mercutio,  Benedick,  Faulconbridge, 
Young  Mirabel,  Petruchio,  Charles  Surface,  Duke  Aranza,  and 
a  long  list  of  similar  characters,  in  which,  after  the  retirement 
of  Mr.  Lewis  in  1809,  he  was  acknowledged  to  be  unsur- 
passed. His  great,  unvarying  merits  were  his  elegance  of 
action,  his  taste  in  costume,  his  intimate  knowledge  of  his 
author,  and  his  refinement  of  manner,  which  always  impressed 
upon  an  audience  the  fact  that  Mr.  Kemble,  the  high-bred 
gentleman,  stood  before  them — a  fact  that  he  himself  never 
for  a  moment  forgot.  With  his  daughter  he  visited  America 
in  1832,  made  his  first  appearance,  Sept.  17,  1832,  at  the 
Park  Theatre,  New  York,  in  the  character  of  Hamlet,  and 
his  daughter,  appeared  the  following  evening.  The  sensa- 
tion created  by  them  had  been  equaled  in  kind  only  in  the 
days  of  Cooke  and  Kean,  and  in  duration  and  intensity 
was  altogether  unparalleled.  The  intellectual,  the  educated, 
and  the  refined  crowded  the  theatre  when  they  performed, 
and  during  their  entire  stay  their  popularity  never  waned. 
He  made  his  first  appearance  in  Boston,  Apr.  15,  1833,  as 
Hamlet,  at  the  Tremont.  During  this  engagement  he  ap- 
peared with  his  daughter  in  "The  Stranger,"  "School  for 
Scandal,"  "Romeo  and  Juliet,"  "Provoked  Husband," 
"Gamester,"  etc.,  and  created  great  excitement  in  the  dra- 
matic world  of  Boston  and  vicinity.  The  tickets  were  sold 
at  auction,  and  crowded  houses,  composed  of  the  beauty  and 
wealth  of  the  city,  assembled  to  honor  them.  They  again 
played  at  the  Tremont,  opening  Sept.  4,  1833,  for  eighteen 
nights;  when  the  total  receipts,  with  premiums,  amounted 
to  $11,671.75.  He  played  in  many  of  the  principal  cities  of 
the  Union,  and  on  his  return  to  England,  he  continued  to  per- 
form occasionally,  and  frequently  read  the  plays  of  Shake- 
speare. In  his  last  years,  he  received  the  appointment  of 
Reader  of  Plays  in  the  office  of  the  Lord  Chamberlain,  by 
whom  all  must  be  approved  before  they  are  allowed  to  be 
represented.  In  early  life,  he  wrote  or  translated  the  fol- 
lowing dramas:  "The  Point  of  Honor,"  "The  Budget  of 
Blunders,"  "Plot  and  Counterplot,"  and  "The  Wanderer." 
He  died  in  London,  Nov.  11,  1854,  having  nearly  completed 
his  79th  year. 


109.  KEMBLE    (FANNY.)     Engraved    Portrait.     Sir    T. 

Lawrence.     C.  Picart  eng. 

110.  KEMBLE  FANNY  (Miss.)     Portrait,  as  Belvidera. 

Vignette.     T.  C.  Wilson  Del. 
Lithograph. 

40 


111.  KEMBLE  (F.,  Miss.)     Engraved  Portrait,  as  Mrs. 

Beverley.     Engd.  from  an  original  drawing  by  Hy. 
Dawe.     Pubd.  by  T.  Bird,  1830. 
Mezzotint. 

112.  [KEMBLE   (FANNY.)!     Portrait,   as  Julia  in   "The 

Hunchback." 
Lithograph.     Proof  before  all  letters. 

113.  KEMBLE  (FANNY,  Miss.)     Portrait,  as  Juliet.     On 

stone  by  Robert  T.  Stothard.     Printed  by  Engelmann, 
Graf,    Coindet   Co.     Pubd.    by   J.    Dickenson,    1829. 
Lithograph  on  India  paper. 

114.  KEMBLE   (FANNY,   Miss.)     Engraved   Portrait,   as 

Juliet.     Read  &  P.  Roberts.     Pubd.  by  O.  Hodgson. 

115.  KEMBLE   (FANNY,   Miss.)     Engraved   Portrait,   in 

the  Character  of  Portia.     C.  F.  Tayler  pinxt.     T. 
Woolnoth  Sculpt.     Pubd.  by  E.  G.  Harding,  1831. 

Miss  Frances  Ann  Kemble  was  born  in  London,  in  1811. 
Her  debui  took  place  at  Covent  Garden  Theatre,  October 
10th,  1829,  in  the  character  of  Juliet,  and  the  fame  of  her 
success  in  that  and  other  parts  rang  throughout  the  United 
Kingdom,  and  soon  reached  our  western  shores  where 
all  hearts  and  hands  were  eager  to  give  her  a  cordial 
welcome.  Her  triumph  here  was  complete;  she  was  acknowl- 
edged Queen  of  Tragedy  from  Boston  to  New  Orleans, 
without  a  rival  near  her  throne,  nor  were  her  smiles  less  effec- 
tive than  her  tears.  To  the  state  and  dignity  of  the  Kemble 
School,  she  added  all  the  fire  and  impetuosity  of  her  own 
original  genius,  and  from  her  mother  she  inherited  a  grace 
and  fascination  in  her  comic  delineations  that  none  other  of 
the  blood  of  Kemble  ever  knew.  To  her  mother,  also,  she 
was  indebted  in  her  girlhood  for  a  dainty  lightness  of  figure, 
whose  delicacy  of  outline  was  completely  lost  in  her  maturer 
years,  and  for  a  pair  of  glorious  dark  eyes.  Soft  in  repose, 
but  able  with  a  single  glance  to  express  the  intensest  shades 
of  every  varying  passion.  No  actress  that  preceded  her  in 
America  ever  held  so  powerful  and  deep  a  sway  over  the 
hearts  and  feelings  of  her  auditors.  In  the  spring  of  1834,  at 
Philadelphia,  just  before  her  final  engagement  at  the  Park 
Theatre,  where  she  last  appeared  on  the  20th  of  June  in  that 
year,    she    married    Mr.    Pierce  Butler.     Incompatibility  of 

41 


taste  and  temper  soon  alienated  affection  and  after  the  lapse 
of  a  few  years,  Mrs.  Butler  found  it  more  consonant  with 
her  feelings  to  soothe  the  declining  years  of  her  father  in 
London,  than  to  occupy  the  position  of  a  thwarted  wife  in 
her  husband's  house  at  Philadelphia.  A  suit  for  divorce 
ensued — Pierce  Butler,  plaintiff — which  was  so  far  defended 
by  Mrs.  Butler  as  to  fully  protect  her  character  from  the 
slightest  imputation  of  criminality,  although  she  cheerfully 
concurred  in  the  propriety  of  a  final  separation,  which  was 
granted  by  the  proper  court.  After  that  decree,  she  imme- 
diately resumed  her  maiden  name,  and  has  ever  since  been 
known  as  Mrs.  Kemble.  On  her  first  return  to  England, 
she  appeared  for  a  few  times  on  the  stage,  but  for  the  general 
associations  of  the  profession  she  always  entertained  a  dis- 
like, and  since  then  has  confined  herself  exclusively  to  dra- 
matic readings,  several  courses  of  which  she  has  given  in  her 
native  land,  as  well  as  in  America,  with  extraordinary  suc- 
cess. She  has  written  successfully  for  the  stage  and  for  the 
closet.  Her  play  of  "Francis  the  First"  was  acted  at  Covent 
Garden,  before  she  had  reached  her  20th  year.  Her  "Jour- 
nal in  America"  contained  much  keen  ridicule  on  various 
national  habits,  which  was  offensive  to  national  vanit}^;  but 
in  her  "Year  of  Consolation,"  published  in  1847,  she  made 
a  sort  of  apology  for  her  previous  remarks.  Her  last  dramatic 
production  was  an  adaptation  from  a  play  by  Dumas,  en- 
titled "The  Duke's  Wager,"  and  was  acted  at  the  Astor 
Place  Opera  House,  by  Miss  Julia  Dean,  in  1850.  Her  first 
appearance  in  this  country  was  at  the  Park  Theatre,  New 
York,  Sept,  18,  1832,  as  Bianca  in  "Fazio."  She  made  her 
first  appearance  in  Boston,  in  the  same  part,  on  Tuesday 
evening,  April  16,  1833,  at  the  Tremont  Theatre,  her  father 
enacting  Fazio.  On  leaving  her  husband's  house  in  1845, 
she  shortly  afterwards  sailed  for  England,  and  reappeared 
on  the  stage  after  a  long  retirement,  April  16,  1847,  at  the 
Theatre  Royal,  Manchester,  as  Julia  in  the  "Hunchback." 
She  returned  to  America  in  1848,  gave  a  series  of  readings 
and  returned  to  England,  and  after  a  tour  through  Europe, 
she  revisited  America  in  1856.  Pierce  Butler  died  in  Georgia 
in  August,  1867.  She  reappeared  in  New  York  as  a  reader, 
in  the  fall  of  1868  at  Steinway  Hall.  She  had  been  ill  but 
a  short  time  before  her  death,  which  took  place  at  the  resi- 
dence of  her  son-in-law,  the  Hon.  and  Rev.  Canon  James 
Wentworth  Leigh,  No.  86  Gloucester  Place,  London,  Eng- 
land, Jan.  15,  1893,  and  was  interred  in  Kensal  Green 
Cemetery,  where  her  father  is  buried. 

116.     BARRY  (THOMAS.)  Manager  of  New  York  and  Boston 
Theatres.      Engraved    Portrait.      Bust.     Vignette. 
Engraved  by  S.  Hollyer,  from  the  original  Painting. 
42 


Mr.  Thomas  Barry  made  his  first  appearance  in  America,  at 
the  Park  Theatre,  New  York,  Dec.  16th,  1826,  as  The 
Stranger  (in  the  play  of  that  name),  which  he  personated  with 
rare  ability.  This  gentleman  is  identified  with  the  best  recol- 
lections of  New  York  and  Boston  dramatic  history.  Soon 
after  his  arrival,  he  was  intrusted  with  the  stage  manage- 
ment of  the  Park,  where  his  correct  taste  and  excellent  judg- 
ment were  soon  perceptible  in  the  order,  elegance  and  liber- 
ality of  his  arrangements.  He  remained  in  the  position, 
until  the  summer  of  1833,  when  he  came  to  Boston  for  the 
purpose  of  assuming  the  management  of  the  Tremont  Theatre. 
His  first  move  was  to  put  the  theatre  in  complete  repair, 
which  it  greatly  needed.  This  he  did  at  a  cost  of  $5000, 
which  came  out  of  his  own  pocket.  The  interior  was  re- 
painted, new  drapery  provided,  and  gas  introduced  into  the 
body  of  the  house,  much  to  the  satisfaction  of  the  ladies,  many 
of  whom  could  trace  a  ruined  dress  to  a  visit  to  the  theatre, 
owing  to  the  dripping  of  the  oil  from  the  lamps.  He  engaged 
a  fine  company,  and  commenced  his  season  on  the  2nd  of 
September,  with  "The  Honeymoon,"  in  which  Mr.  Barry 
enacted  Duke  Aranza.  This  was  followed  by  the  farce  of 
"Turn  Out,"  the  receipts  were  $482.75.  He  directed  the 
business  of  the  theatre,  for  six  years  to  the  entire  satisfaction 
of  the  public,  but  to  the  total  ruin  of  his  own  fortune,  and  in 
1839,  his  books,  wardrobe,  everything  came  under  the  auc- 
tioneer's hammer,  and  Mr.  Barry  left  Boston  as  poor  as 
Lazarus.  The  directors  of  the  Tremont,  in  1839,  in  a  report, 
made  to  the  stockholders,  admitted  that  the  corporation 
netted  50  per  cent  more  than  had  been  realized  from  any 
preceding  lessee,  stating,  "Mr.  Barry  is  the  only  tenant  we 
have  yet  had  who  has  both  satisfied  the  public  and  paid  a 
fair  remunerating  rent  to  the  proprietors."  At  this  time  Mr. 
Barry  was  somewhat  in  arrears  for  rent,  and  notwithstanding 
this  favorable  report,  and  the  fact  that  he  had  paid  $16,000 
for  repairs,  gas  fittings,  etc.,  they  demanded  and  obtained 
the  full  payment  of  the  bond.  He  reappeared  at  the  Bowery 
Theatre,  New  York,  as  William  Tell,  on  the  15th  of  July, 
1839.  After  a  long  absence  from  Boston,  he  returned  and 
took  the  stage  management  of  the  National  Theatre,  and 
remained  here  till  the  expiration  of  the  season  of  1851-2,  when 
he  returned  to  New  York,  where  he  assumed  the  stage  man- 
agement of  the  Broadway  Theatre.  He  was  the  lessee  and 
manager  of  the  present  Boston  Theatre,  which  was  opened 
Sept.  11,  1854,  on  which  occasion  the  opening  play  was  "The 
Rivals,"  Sir  Anthony  Absolute  being  enacted  by  the  Boston 
favorite,  Mr.  John  Gilbert.  The  theatre  remained  under  his 
management  until  the  season  of  1858.  In  1856  he  was  mar- 
ried to  Miss  Clara  Biddies  (a  sister  of  Mrs.  Charles  Calvert), 
long  a  favorite  in  this  city,  who  afterwards  became  Mrs. 
William    Redmund.     On    Friday    afternoon,   Feb.    7,    1873, 

43 


a  complimentary  benefit  was  given  to  Mr.  Barry,  who  at  the 
time,  was  an  invaUd.  The  entire  receipts,  $3126.50,  were 
given  to  him.     He  died  in  England  in  1876. 

117.  POWER  (Mr.)     Portrait.     Facsimile  autograph.     W. 

Clerk  lith. 
Lithograph. 

118.  POWER     (Mr.)     Portrait,     in     Character,     singing 

"The  Boys  of  Killkenny."     Lith.  of  M.  Swett,  N.  Y. 
Lithograph.     Music  Sheet. 

119.  POWER   (Mr.)   Portrait,    as    Corporal    O'Connor. 

From  an  original  Portrait  by  Wageman.     Facsimile 
autograph.     L.  Haghe  delt.     Pubd.  by  Gooding  and 
Culleford,  1826. 
Lithograph  printed  in  colors. 

120.  POWER  (TYRONE.)     Portrait,  in  the  Character  of 

Major  O'Dogherty,  in  the  drama  of  St.  Patrick's 
Eve.     Drawn  on  stone  by  Hoffy,  from  a  sketch  taken 
from  life  by  Heidemens.     J.  T.  Bowen's  Lith.     Pubd. 
by  C.  Shepard,  N.  Y. 
Lithograph  printed  in  colors. 

121.  POWER  (Mr.)     Portrait,  as  Paudeen  O'Rafferty. 

Printed  &  Pubd.  by  N.  R.  Robinson,  New  York. 
Lithograph  printed  in  colors. 

122.  [POWER    (TYRONE.)]       View.       The     Steam     Ship 

President.     J.  McGee  delt.     Oblong. 
Lithograph  printed  in  colors. 

Tyrone  Power,  known  as  "Paddy  Power,"  was  born  at 
Kilmacthomas,  Ireland,  Nov.  2,  1797.  He  made  his  debut  at 
Newport,  in  the  Isle  of  Wight,  in  1815,  as  Alonzo  in  "Pizarro." 
In  1817,  he  married  a  Miss  Gilbert,  of  the  Isle  of  Wight,  by 
whom  he  had  seven  children,  one  of  whom,  Maurice  Power, 
played  with  small  success  at  the  Park  Theatre,  New  York,  in 
1848.  Towards  the  close  of  the  year  1818  he  came  in  pos- 
session of  his  wife's  fortune,  and  becoming  disgusted  with  the 
stage  left  it.  In  1820  he  sailed  for  the  Cape  of  Good  Hope, 
and  on  arriving  there,  set  off  on  an  exploring  expedition,  but 

44 


it  proving  very  disastrotis,  he  once  more  took  to  the  stage, 
making  his  first  appearance  in  London,  at  the  Olympic 
Theatre,  and  subsequently  played  at  the  English  Opera  House, 
the  Lyceum,  The  Adelphi,  and  Covent  Garden  Theatre, 
where  he  made  his  debut  as  Rolando  in  "The  Honeymoon," 
and  where,  in  1827,  he  first  played  an  original  Irish  character — 
viz.,  O'Shaughnessy  in  Peake's  farce  of  the  "£100  Note," 
with  such  eclat  that  his  fame  was  established  as  the  only 
legitimate  representative  of  an  Irishman  on  the  British  stage, 
though  it  was  not  until  his  absence  in  America  revealed  to 
the  public  how  far  superior  he  was  to  every  Hibernian  com- 
petitor, that  he  rose  to  that  high  pitch  of  popular  esteem  and 
favor  with  which  he  was  overwhelmed  on  his  return,  and 
which  ever  after  continued  to  attend  him.  He  made  his  first 
appearance  in  America,  at  the  Park  Theatre,  New  York,  on 
the  28th  of  August,  1833,  in  Kenney's  comedy  of  "The  Irish 
Ambassador,"  then  first  played  here,  in  which  he  enacted  Sir 
Patrick  O'Plenipo.  His  next  character  was  the  "Irish  Tutor," 
on  the  29th,  a  part  which  some  years  previous  he  had  refused 
to  play  at  the  Adelphi  Theatre,  London,  as  being  likely  to 
injure  his  growing  repute  in  another  line.  Dennis  Bulgruddery, 
Major  O'Flaherty,  and  Paudeen  O'Rafferty  followed  in  suc- 
cession; and  on  the  6th  of  September,  Bernard's  farce  of  the 
"Nervous  Man,"  was  played  for  the  first  time  on  the  New 
York  stage,  for  the  benefit  of  Mr.  Power,  in  which  he  played 
McShane.  In  aU  of  these  characters,  he  made  so  great  an 
impression  that  he  entirely  eclipsed  all  predecessors  in  the 
assumption  of  Irish  character,  in  this  country.  He  made  his 
first  appearance  in  Boston,  Sept.  30,  1833,  at  the  Tremont 
Theatre,  as  Sir  Patrick  O'Plenipo,  and  McShane,  and  was 
warmly  welcomed.  He  played  in  most  of  the  large  cities  of 
the  Union,  making  his  last  appearance  on  any  stage  at  the 
Park  Theatre,  New  York,  March  9,  1841.  He  sailed  from 
New  York  for  Liverpool,  March  21,  1841,  on  the  steamship 
"President."  She  was  seen  on  the  24th,  laboring  and  strug- 
gling violently,  by  a  packet  ship,  but  no  tidings  were  ever 
heard  from  her  afterwards.  There  were  one  hundred  and 
nine  persons  on  board.  Mr.  Power  was  an  accomplished 
writer  and  contributed  freely  to  the  magazines  of  his  day. 
He  published  his  "Impressions  of  America,"  and  two  novels, 
entitled  "The  King's  Secret"  and  "The  Lost  Heir,"  and  was 
author  also  of  the  successful  dramas  of  "St.  Patrick's  Eve," 
"The  Married  Lovers,"  "Etiquette  Run  Mad,"  "How  to 
Pay  the  Rent,"  "Paddy  Carey,"  "O'Flanagan  and  the 
Fairies,"  and  others.  He  was  about  five  feet,  eight  inches  in 
height,  with  light  hair  and  complexion,  blue  eyes,  and  a  neat, 
compact  figure,  inclining  to  stoutness.  His  mercurial  tem- 
perament, his  genial  but  refined  humor,  the  merry  twinkle  of 
his  eye,  the  rich  tones  of  his  voice,  his  skill  in  music,  the  grace 
and  heartiness  of  his  dancing,  his  happy  variations  of  brogue 

45 


to  the  different  grades  of  character  he  represented — in  fact, 
every  requisite  that  nature  and  art  could  bestow,  combined 
to  make  him  the  most  perfect  comedian  of  his  class  ever 
known  to  the  American  stage. 

123.  [WOOD    (JOSEPH.)]      Portrait.      Vignette.      Anon. 
Water  color  Drawing. 

124.  WOOD  (Mr.)     Portrait.     "List  Thee  Dear  Lady," 

sung  by  Mr.  Wood,  in  opera  of  Fra  Diavolo.   Lith.  of 
Endicott. 
Lithograph.     Music  Sheet. 

125.  WOOD    (Mr.   and    Mrs.)      Portrait.      "On   Yonder 

Rock  Reclining."     Lith.  of  Endicott. 
Lithograph.     Music  Sheet. 

126.  WOOD    (Mr.)     Engraved  Portrait  as  The  Prince, 

in  Cinderella.      Pubd.  by  M.  &  M.  Skelt. 

127.  WOOD  (Mr.)     Engraved  Portrait,  as  The  Sultan. 

Page  Junr.  Sculp.     From  The  Apollo,  1830. 

Joseph  Wood  was  born  in  England,  March  7,  1801.  Made 
his  debut  as  a  vocalist,  in  1826,  in  Dublin,  Ireland,  making  his 
first  appearance  upon  the  London  stage,  at  the  English  Opera 
House,  June  30,  1828,  as  Edward  in  "The  Freebooter." 
He  was  at  Covent  Garden  Theatre,  in  1829,  appearing  as 
Ivanhoe  in  the  opera  of  "Maid  of  Judah,"  to  Miss  Paton's 
Rebecca,  and  during  the  season  as  Lionel  to  Miss  Paton's 
Clarissa,  as  Edward  to  Madame  Vestris's  Mme.  Germance,  in 
"Home,  Sweet  Home,"  as  Adolphe  to  Miss  Paton's  Ninetta, 
in  "La  Gazza  Ladra,"  and  other  important  operatic  parts. 
In  the  following  year,  at  the  same  theatre,  he  made  a  hit 
when  the  opera  of  "Cinderella"  was  brought  out,  and  after- 
wards became  a  great  favorite.  As  the  Prince  in  "Cinderella" 
he  made  his  first  appearance  in  America,  at  the  Park  Theatre, 
New  York.  In  1830,  in  May,  he  married  Lady  William 
Lennox  (Miss  Paton).  He  made  his  first  appearance  in  Boston, 
4th  of  December,  1833,  in  "Cinderella,"  when  he  agreeably  sur- 
prised, nay  even  astonished  his  public  by  the  grace  and 
fluency  of  his  execution,  the  sweet  mellow  and  full  tones  of  a 
voice  ranging  from  the  upper  bass  to  high  tenor,  and  the 
manly  elegance  of  his  person.  From  the  opening  air  "Morn- 
ing its  sweets  is  flinging,"  to  his  introduced  solo  in  the  ball 
scene,  all  bespoke  him  such  a  tenor  as  Boston  had  never 

46 


looked  upon  before.  After  this  opera  came  "Guy  Manner- 
ing,"  "The  Barber  of  Seville,"  "Love  in  a  Village,"  "The 
Waterman,"  "Der  Freischutz,"  "The  Devil's  Bridge,"  "The 
Marriage  of  Figaro,"  "Clara  and  the  Slave,"  in  all  of  which 
the  Woods  sustained  that  enthusiasm  and  unequivocal  pub- 
lic favor  their  first  appearance  had  produced.  After  playing 
in  opera  about  a  month  they  left  for  the  South.  In  October 
and  December,  1835,  he  and  his  wife  were  here  again,  when  the 
"Maid  of  Judah,"  "Fra  Diavolo,"  "Robert  the  Devil,"  and 
"La  Sonnambula"  were  brought  out.  In  the  two  former  Mr. 
Wood  made  a  great  sensation,  by  his  singing  of  "When  the 
Trump  of  Fame,"  "Young  Agnes,"  and  "Proudly  and  Wide." 
In  both  the  characters  of  Ivanhoe  and  The  Brigand,  he  looked 
as  admirably  as  he  sang.  Pending  the  production  of  "Robert 
the  Devil,"  Mrs.  Wood  chanced  to  be  indisposed,  and  Mr. 
Wood  chose  to  be  offended  by  a  notice  of  it  in  the  Post.  He 
wrote  the  editor  a  peppery  note  which  received  a  severe  reply, 
and  Mr.  Barry,  the  manager,  in  a  pet,  stopped  his  paper, 
advertisements,  etc.  After  these  mutual  bickerings,  when 
"La  Sonnambula"  appeared,  however,  all  came  round  again; 
the  public  and  the  Post  were  alike  delighted.  The  opera 
took  Boston  by  storm,  and  Mrs.  Wood's  superb  acting  and 
singing,  and  Mr.  Wood's  presentment  of  "Still  so  gently"  was 
received  by  the  audience  with  sincere  approval  of  their  efforts. 
In  March,  1836,  another  engagement  was  played  at  the 
Tremont  by  Mr.  and  Mrs.  Wood.  Some  years  afterwards 
the  Woods  revisited  Boston,  when  it  was  found  that  his  voice 
had  gained  in  volume  and  certainty  during  the  interval,  and 
hers,  on  the  contrary,  had  fallen  off  in  both  particulars.  Mr. 
and  Mrs.  Wood  revisited  America  in  1840,  when  he  made  his 
appearance,  at  the  Park  Theatre,  New  York,  Oct.  1st, 
as  Elvino,  and  was  heartily  welcomed.  He  made  his 
last  appearance  in  New  York,  at  the  same  house  as  Macheath 
in  "The  Beggars'  Opera,"  in  Nov.,  1840.  He  died  Sept.  6, 
1890,  aged  89. 

128.  PATON  (Miss.)     Engraved  Portrait.     Anon.     Pubd. 

1823,  for  La  Belle  Assemble e. 
Hand  colored. 

129.  PATON  (Miss.)  of  the  Theatre  Royal  Covent  Garden. 

Portrait.     Engd.  by  R.  Newton  from  a  miniature  by 
W.  J.  Newton.     Pubd.  1826,  by  Wm.  Sams. 

130.  PATON  (Miss.)     Engraved  Portrait,  as  Cinderella. 

Pubd.  July,  1830,  by  Hodgson  &  Co. 
Hand  colored. 

47 


131.  PATON   (Miss.)  as  Floretta,   in  the  opera  of  "The 

Cabinet."     Drawn  &  Engd.  by  Kennerley. 
Hand  colored. 

132.  PATON  (Miss.)      Engraved  Portrait,  as  Mandane. 

Pubd.  by  Orlando  Hodgson. 
Hand  colored. 

133.  PATON  (Miss.)     Portrait,  as  Mandane  in  the  opera 

of  "Artaxerxes."     Drawn  on  stone  by  J.  H.  Lynch. 
Lithograph.     India  Paper. 

134.  PATON    (Miss.)     Engraved    Portrait,    as    Rebecca 

in  The  Maid  of  Judah.      Painted  &  Engd.  by  T.  L. 
Busby,  for  the  Dramatic  Magazine,  1829. 
Hand  colored. 

Mary  Ann  Paton  was  born  in  Edinburgh,  in  October,  1802. 
At  the  age  of  four  she  sung  and  played  on  the  piano  and 
miniature  harp  with  correctness,  and  when  only  eight,  gave 
six  public  concerts  in  one  season.  Soon  after,  her  father  re- 
moved to  London,  where  she  sang  in  concerts  with  great 
applause.  A  period  of  six  years  devoted  to  musical  and  other 
studies  was  then  passed  in  entire  seclusion,  then  she  appeared 
in  the  concert  rooms  at  Bath  and  London,  with  improved 
powers  and  increased  approbation,  and  fully  sharing  the 
applause  of  the  audience  with  the  enchanting  Miss  Stephens 
and  Catalani.  In  1822,  Aug.  3,  she  made  her  debut  on  the 
stage  at  the  Haymarket  Theatre,  London,  as  Susanna  in 
"The  Marriage  of  Figaro,"  with  such  complete  success  that 
the  Covent  Garden  managers  immediately  engaged  her  for 
three  years,  and  she  there  first  appeared  on  the  19th  of  Oct., 
1822,  as  Polly  in  "The  Beggars'  Opera."  In  1830,  she  ap- 
peared at  the  Italian  Opera  as  successor  of  the  celebrated 
Pasta,  and  on  that  stage  received  the  same  abundant  evi- 
dences of  approbation.  Her  unhappy  marriage  with  Lord 
William  Lennox,  whose  fortune  did  not  allow  him  to  with- 
draw her  from  public  life,  and  difficulties  ensuing  between 
them,  a  legal  separation  was  decreed  in  1830,  when  she  was 
immediately  united  to  Mr.  Wood,  then  of  Covent  Garden 
Theatre.  After  her  marriage  with  Mr.  Wood,  and  probably 
in  consequence  of  that  event,  her  popularity  in  London  de- 
clined, but  throughout  every  other  district  in  Great  Britain  and 
Ireland,  she  continued  to  be  welcomed  with  unaffected  and 
ecstatic  delight.  In  early  life,  Mrs.  Wood  possessed  a  lovely 
and    expressive    countenance,    a    rather    tall    but    delicately 

48 


formed  person,  which  expanded  to  robustness  with  advancing 
years,  and  a  voice  of  remarkable  sweetness,  power,  compass, 
brilliancy,  and  a  wonderfully  correct  intonation.  Her  execu- 
tion displayed  the  most  thorough  cultivation,  and  in  scientific 
musical  attainments  she  has  probably  been  excelled  by  no 
English  female  singer,  while  her  taste  was  as  exquisite  as  her 
powers  were  brilliant.  In  company  with  her  husband  she 
made  three  visits  to  the  United  States,  all  of  .which,  so  far 
as  she  was  concerned,  were  eminently  successful.  After  their 
final  departure  from  our  shores,  in  1841,  Mr.  Wood  purchased 
a  farm  at  WooUey  Moor,  Yorkshire,  and  in  1843,  Mrs.  Wood, 
having  embraced  the  Roman  Catholic  religion,  took  up  her 
residence  in  the  convent  by  Micklegate  Ear,  York.  The 
change  however  was  of  short  duration,  and  in  J  uly  she  quitted 
the  convent.  In  1844  she  was  engaged  at  the  Princess's 
Theatre.  She  soon  afterwards  retired  from  her  profession, 
and  settled  with  her  husband  at  WooUey  Moor.  Here  she 
took  a  warm  interest  in  the  Anglican  Service  at  Chapelthorpe. 
She  composed  for  it,  formed  and  trained  a  choir,  in  which  she 
herself  took  the  leading  part.  In  1854  they  left  Yorkshire 
and  went  abroad.  In  1863  they  returned  to  Bulcliffe  Hall, 
in  the  neighbourhood  of  Chapelthorpe,  and  there  she  died, 
July  21,  1864,  leaving  a  son  (born  at  Woolley  Moor  in  1838) 
as  the  only  representative  of  her  family. 

135.  KNOWLES   (Mr.)     Engraved   Portrait,   as    Master 

Walter.     Wageman  delt.     R.  Woodman  Sc. 
Hand  colored. 

136.  KNOWLES    (JAMES    SHERIDAN,    Mr.)     Engraved 

Portrait,  as  Walter  in  The   Hunchback.     Pubd. 
for  the  Proprietor  of  the  Casket  by  B.  Steill. 

137.  KNOWLES  (SHERIDAN,  Mr.)     Engraved  Portrait, 

as  William  Tell.     Pubd.  by  A.  Park,  1836. 

James  Sheridan  Knowles  was  born  in  Anne  Street,  Cork, 
Ireland,  in  1784.  His  passion  for  the  drama  was  so  enthusi- 
astic, in  his  early  y,ears,  that  he  determined  to  choose  the 
stage  as  his  profession;  his  family  attempted  to  dissuade  him, 
but  he  would  not  listen  to  their  remonstrances,  and  made 
his  debut  at  the  Crow  Street  Theatre,  Dublin,  but  this  at- 
tempt was  not  successful,  and  histrionics  were  for  a  time 
abandoned.  In  the  year  1809,  however,  he  determined  to 
repeat  his  attempt,  and  joined  Cherry's  Company  at  Water- 
ford,  Ireland,  and  there  made  the  acquaintance  of  Edmund 
Kean.  In  the  course  of  that  season  Knowles'  first  acted 
drama,  "Leo  the  Gipsy,"  was  brought  before  the  public,  the 

49 


principal  part  having  been  accepted  and  played  by  Kean. 
Knowles  remained  two  years  with  the  company,  playing 
alternately  at  Waterford,  and  Swansea,  in  Wales.  We  next 
find  him  in  Belfast,  seeking  an  engagement  in  Talbot's 
company.  Having  repaired  to  Belfast,  with  a  view  to  em- 
ployment at  its  theatre,  he  found  that  there  was  a  far  better 
opening  for  him  as  a  teacher  of  elocution  and  grammar,  and 
here  he  commenced  his  career  as  a  public  instructor.  Here 
he  produced  his  play  "Brian  Boroihme,"  an  alteration  of  a 
piece  from  another  pen,  and  his  "Caius  Gracchus,"  first  per- 
formed by  Talbot's  company,  in  1815,  and  subsequently  in 
London,  in  1823,  when  Macready  played  the  part  of  Caius. 
The  next  in  succession  was  "Virginius,"  first  played  in 
Glasgow,  Scotland,  under  Mason's  management.  It  ran  fifteen 
nights  when  a  friend  of  Macready  who  happened  to  see  it, 
earnestly  recommended  it  to  his  notice.  Macready's  adop- 
tion of  the  character,  made  not  only  the  fortune  of  the  play, 
but  his  own.  Next  followed  the  "Beggar  of  Bethnal  Green," 
"The  Hunchback,"  and  "Alfred,"  an  early  effort  remodelled. 
In  1832,  he  made  his  first  appearance  at  Covent  Garden,  as 
Master  Walter  in'  "The  Hunchback,"  and  played  in  "The 
Wife,"  at  the  same  house,  in  1833.  In  1834,  he  revisited  Cork, 
his  native  city,  playing  in  "The  Wife,"  and  "The  Hunch- 
back," afterwards  playing  in  Dublin.  He  made  his  debut 
in  America,  at  the  Park  Theatre,  New  York,  Sep.  29,  1834,  as 
Master  Walter.  He  received  the  compliment  of  a  public 
dinner  at  Philadelphia,  shortly  after  his  arrival,  and  a  com- 
plimentary theatrical  benefit  in  New  York,  on  the  8th  of 
April,  1835.  Made  his  first  appearance  in  Boston,  on  the 
13th  of  October,  1834,  at  the  Tremont  Theatre,  as  Master 
Walter,  and  during  this  engagement  he  also  appeared  in 
"The  Wife,"  "William  Tell,"  "Virginius"  and  "Macbeth." 
On  his  opening  night  he  was  called  out,  and  made  a  brief 
speech,  returning  thanks  for  his  enthusiastic  reception,  and 
closing  thus:  "The  least  said,  my  friends,  soonest  mended; 
if  I  try  to  say  anything  more,  I  know  I  shall  make  some 
blunder — so  God  bless  you!"  On  his  return  to  England  he 
wrote  "The  Love  Chase,"  which  was  produced  at  the  Hay- 
market  Theatre;  "Woman's  Wit,"  for  Covent  Garden 
Theatre";  "The  Maid  of  Mariendorpt,"  for  the  Haymarket; 
and  his  comedy  of  "Love,"  again  for  Covent  Garden.  This 
is  one  of  the  best  of  his  later  plays.  "Old  Maids,"  and 
"John  of  Procida,"for  Covent  Garden  were  his  next  attempts; 
to  which  succeeded  "The  Rose  of  Arragon,"  at  the  Haymarket; 
and  in  1843,  "The  Secretary."  About  this  time  his  health 
began  to  fail,  and  he  was  given  a  pension  of  £100  per  annum 
by  the  government,  increased  to  £200,  and  was  afterwards 
appointed  Curator  of  the  house  of  Shakespeare  at  Stratford- 
upon-Avon.  His  plays  have  been  collected  and  published 
in  three  volumes.     In  addition  to  his  plays  he  wrote  much  in 

50 


prose  and  verse  for  various  periodicals,  and  published  a 
volume  of  Tales,  all  of  which  had  already  appeared  in  various 
annuals  and  magazines.  He  died  at  Torquay,  England, 
Sunday,  30th  Nov.,  1862. 

138.  PHILLIPS  (Miss  LYDIA.)     Portrait,  as  Claudia  in 

RiENzi.     Painted  from  life  and  drawn  on  stone  by  H. 
F.  Dawe.  Printed  by  C.  Hullmandel.    Pubd.  by  Dawe 
&  Bartholomew. 
Lithograph. 

139.  PHILLIPS  (Miss.)     Engraved  Portrait,  as  Claudia 

in  RiENZi.     Pubd.  by  D.  Straker,  1828. 
Hand  colored. 

She  had  been  for  several  years  a  favorite  actress  at  Drury 
Lane,  where  she  first  appeared  in  1829,  as  Claudia,  in  Miss 
Mitford's  "Rienzi."  She  made  her  first  appearance  in 
America,  as  Juliet,  at  the  Park  Theatre,  New  York,  Sept.  15, 
1834.  She  was  tall  and  dignified  in  person,  with  an  expressive 
countenance  and  very  fine  eyes,  lady-like  in  her  manners, 
graceful  in  her  action,  a  chaste  and  correct  elocutionist,  and 
though  neither  cold  nor  unimpassioned,  always  quiet  and 
subdued  in  her  style  of  acting.  Her  whole  appearance  indi- 
cated the  well  bred  gentlewoman.  She  made  her  first  ap- 
pearance in  Boston,  at  the  Tremont  Theatre,  Nov.  10, 
1834,  as  Juliet.  She  played  a  farewell  engagement  at 
Wallack's  National  Theatre,  New  York,  making  her  last 
appearance  there,  Oct.  1,  1836,  as  Lady  Macbeth. 

140.  JARMAN  (Miss.)     Portrait.     Vignette.     Drawn  and 

Lithographed    by    Isaac   W.    Slater.     Printed   by    C. 
Hullmandel.     Pubd.  by  I.  W.  Slater,  1829. 
Lithograph.     India  paper. 

Frances  Eleanor  Jarman  (Mrs.  Ternan)  was  born  in  Hull, 
England,  in  1805;  played  successfully  at  Bath,  1820;  was 
afterwards  a  leading  actress  at  the  Theatre  Royal,  Dublin, 
making  her  first  appearance  there  as  Letitia  Hardy  in  "The 
Belle's  Stratagem."  She  made  her  first  appearance  in 
London,  at  Covent  Garden,  as  Juliet,  in  February,  1827; 
and  made  her  American  debut  in  the  same  character,  at  the 
Chestnut  Street  Theatre,  Philadelphia,  Nov.  18,  1834.  She 
appeared  in  Boston,  for  the  first  time,  on  January  9,  1835, 
as  Julia  in  "The  Hunchback,"  at  the  Tremont.  Her  hus- 
band, Mr.  Ternan,  played  Master  Walter  with  considerable 
discrimination,    though   the   chief   attraction   was   his   wife. 

51 


With  a  person  tall  and  commanding,  Miss  Jarman  possessed 
a  voice  of  much  sweetness  in  its  tones,  and  considerable 
power.  Her  face  was  comely  without  being  striking,  and 
her  movements  graceful.  She  proved  a  very  attractive 
actress.  Mr.  &  Mrs.  Ternan  subsequently  played  several 
engagements  in  this  city.  She  and  Mr.  Ternan  made  their 
first  appearance  in   New  York,  on  the   17th  of   December, 

1834,  at  the  Park  Theatre,  in  "Romeo  and  Juliet."  She 
took  her  farewell  benefit  in  America,  at  the  Walnut  Street 
Theatre,  Dec.  11,  1836,  in  the  characters  of  Ion  and  Jeannie 
Deans;  shortly  afterwards  returning  to  England,  and  ap- 
pearing at  Drury  Lane. 

141.  CUSHMAN  (CHARLOTTE.)     Portrait.     T.   H. 

Maguire,   1846.     Facsimile  autograph. 
Lithograph. 

142.  CUSHMAN     (CHARLOTTE.)     Engraved     Portrait. 

Bust.    Vignette.   S.  Hollyer  Eng.   Facsimile  autograph. 

143.  CUSHMAN  (CHARLOTTE,  Miss.)     Portrait,  as  Lady 

Gay  Spanker.     J.  A.  McDugall,  pinxt.    Lithographed 
by  A.  Hoffy. 
Lithograph. 

144.  CUSHMAN  (CHARLOTTE  and  SUSAN.)     Portraits, 

as  Romeo  and  Juliet. 
Lithograph.     Printed  in  colors. 

Charlotte  Cushman  was  born  in  Boston,  July  23,  1816. 
Her  life  long  friend  and  playfellow  in  childhood — the  grand 
old  veteran — John  Gilbert,  was  born  next  door  to  her  in 
Richmond  Street.  In  her  youth  she  possessed  a  remarkable 
voice,  and  after  just  passing  her  15th  year,  she  made  her 
first  public  appearance  at  a  concert  in  Boston,  on  the  25th 
March,  1830,  and  at  once  attracted  attention.  She  was  most 
assiduous  in  her  studies,  and  even  when  so  young  gave  evi- 
dence of  the  power  of  surmounting  obstacles  which  was  so 
strong  a  characteristic  of  her  later  life.  vShe  made  her  first 
appearance,  on  any  stage,  at  the  Tremont  Theatre,  as  the 
Countess  Almaviva  in  "The  Marriage  of  Figaro,"  April  8, 

1835,  following  it  shortly  after  with  Lucy  Bertram  in  the 
then  popular  operatic  drama  of  "Guy  Mannering,"  a  play 
which  was  afterwards  forced  into  almost  an  immortality  by 
her  unique  and  marvellous  performance  of  Meg  Merrilies. 
So  pronounced  was  her  success,  that  offers  of  engagements 

52 


seemed  to  pour  in,  and  an  exalted  position  upon  the  operatic 
stage  was  marked  out  as  if  in  store  for  her,  but  in  her  first 
regular  season,  far  from  her  native  city,  in  New  Orleans, 
her  voice  suddenly  left  her,  and  almost  broken-hearted,  she 
found  that  she  could  sing  no  more;  and  but  for  her  indomita- 
able  courage,  and  a  trust  in  her  own  powers,  she  must  have 
gone  down  beneath  the  weight  of  so  much  sorrow  as  then 
oppressed  her,  and  her  failure  as  a  singer  made  her  the  great 
actress  she  became.  Mr.  Barton,  an  English  actor,  then 
performing  in  New  Orleans,  gave  her  instructions,  and  per- 
suaded her  to  adopt  the  dramatic  stage.  She  followed  his 
advice,  and  appeared  for  his  benefit  as  Lady  Macbeth,  thus 
beginning  a  career  which  she  made  so  illustrious.  Whoever 
Mr.  Barton  may  have  been,  the  world  owes  him  a  debt 
of  eternal  gratitude  for  the  suggestion  which  brought 
to  light  the  great  dramatic  powers  of  Charlotte  Cushman. 
She  made  her  first  appearance  on  the  New  York  stage,  Sept.  12, 

1836,  as  Lady  Macbeth,  at  the  Bowery  Theatre,  and  in  1856 
she  repeated  her  success  as  the  Thane's  wife,  in  the  same 
house.  During  this  portion  of  her  experience  she  encountered 
the  usual  difficulties  of  the  theatrical  novitiate,  and  had  to  fight 
her  way  through  the  many  obstacles  which  beset  her.     In 

1837,  she  appeared  at  the  National  Theatre,  New  York,  as 
the  lovelorn  Romeo,  and  soon  afterwards,  in  May,  she  played 
for  the  first  time  the  character  in  which  she  won  a  world-wide 
renown,  Meg  Merrilies.  Her  triumph  in  this  part  was  such 
as  to  become  the  talk  of  the  town,  and  her  performance  was 
said  to  be  one  of  the  grandest  impersonations  the  New  York 
stage  had  ever  witnessed.  After  this  engagement  she  joined 
the  stock  company  at  the  Park  Theatre,  New  York,  and  sup- 
ported Edwin  Forrest  in  the  heavier  leading  roles.  At 
this  house,  she  added  to  her  fame  by  her  performance  of 
Nancy  Sykes,  in  which,  though  she  had  many  imitators, 
she  never  had  an  equal.  For  a  brief  period  she  managed 
the  Walnut  Street  Theatre,  Philadelphia,  and  when  Macready 
came  to  this  country,  in  1844,  she  became  his  leading 
support,  and  the  favor  with  which  her  efforts  were  re- 
ceived induced  her  to  long  for  a  wider  field  of  triumph,  so 
that  in  1845,  she  departed  for  London,  and  obtained  an  open- 
ing, as  Bianca  in  "Fazio,"  at  the  Princess's  Theatre.  Her 
success  was  beyond  all  question,  and  she  continued  for  84 
nights,  playing  many  parts,  and  among  them  Lady  Macbeth, 
Julia  in  "The  Hunchback,"  Mrs.  Haller,  Beatrice,  Juliana, 
Lady  Teazle  and  Rosalind.  After  this  engagement,  she 
toured  the  British  provinces,  where  she  was  joined  by  her 
sister  Susan ;  one  of  the  strongest  pieces  in  which  they  played 
together,  being  "Romeo  and  JuHet."  Susan  played  Juliet 
and  Charlotte,  Romeo.  After  a  brilliant  season  at  the  Hay- 
market,  London,  she  returned  to  the  States,  in  1849,  re- 
appearing at  the  Broadway  Theatre,   New  York,   as   Mrs. 

53 


Haller,  supported  by  C.  W.  Couldock  as  the  Stranger,  this 
being  his  first  appearance  in  America.     On  the  8th  of  October, 
1849,  she  made  another  brief  visit  to  England,  but  returned 
to  her  native  country  in  1851,  and  the  year  following  took 
a  formal   farewell  of  the  American   stage.     After   this,   for        1 
some    time,    she    resided    in    Rome,    Italy.      She    returned       | 
again  to  America  in  1856,  and  for  two  years  made  the  tour       | 
of  the  States,  acting  all  her  great  characters,  and  adding       1 
that  of  Cardinal  Wolsey  to  her  repertoire.     She  acted  again 
in  New  York,  in  1860  and  1861,  then  returned  to  Europe, 
and  for  nearly  ten  years  she  settled  in  her  old  home  in  Italy, 
being  drawn  back  again  to  give  a  series  of  performances  in        j 
aid  of  the  Sanitary  Commission,  for  which  she  realized  the       | 
sum  of  $10,000.     The  disease  to  which  she  at  last  succumbed 
appeared  about  this  period,  and  for  a  long  time  her  life  was 
despaired  of,  but  she  recovered  so  far  as  to  be  able  to  give 
readings   from   Shakespeare   and   other   authors.     Her   last 
engagement  in  New  York,  commenced  in  October,  1875,  and 
on  the  7th  of  Nov.  that  year,  she  left  forever  the  scene  of  her 
many    triumphs.     She   appeared   many   times,    at    different 
theatres,  in  her  native  city,  and  her  final  appearance  upon 
the  stage  was  made  at  the  Globe  Theatre,  Boston,  on  the 
15th  of  May,   1875,  when  the  curtain  fell  for  the  last  time 
upon  the  greatest  tragic  actress  of  her  period.     Her  bodily 
suffering  was  great,  almost  beyond  endurance,  no  hope  was 
held  out  to  her  by  her  physicians,  but  her  courage  sustained 
her  to  the  end,  and  she  looked  forward  to  the  last  to  recover 
from  the  disease  from  which  she  was  suffering.     She  died  on 
the  18th  of  February,  1876,  at  the  Parker  House,  Boston,  and 
was  buried  in  Mt.  Auburn  Cemetery. 

145.  BROUGH     (WILLIAM     FRANCIS.)     Portrait.       On 

stone  by  A.  Newsam.     P.  S.  Duval  Lith.     Facsimile 
autograph. 
Lithograph. 

146.  BROUGH     (WM.     FRANCIS.)        Portrait,    in     "La 

SoNNAMBULA."     Lith.   of  Endicott. 
Music  Sheet.     Printed  in  colors. 

Francis  William  Brough,  born  in  Wexford,  Ireland,  in  1798, 
made  his  debut  as  a  bass  singer  in  1818,  at  Sussex,  England. 
Was   at   the   Haymarket,    London,   for   three   years.     First 
appeared  in  America,  at  the  Park  Theatre,  New  Yojli, .Sep*  „  ^ 
4,  1835.     He  was  with  Mr.  and  Mrs.  Wood,  at^lie  Tremont,      4 
Boston,  in  1835,  and  made  a  hit  as  the  Comet'in  "La  Sonnam-     ^A 
bula,"  a  favorite  opera  in  those  days.     He  was  again  with 
the  same  lady  and  gentleman  at  the  Tremont,  in  December, 

54 


i 


1840.  He  was  for  some  time  the  agent  of  the  Webb  sisters, 
and  while  acting  as  such,  died  on  his  passage  to  England, 
May  21,  1867.  His  body  was  brought  to  this  country,  Feb., 
1868,  and  the  funeral  took  place  in  Brooklyn,  N.  Y. 

147.  WATSON  (Miss.)     Portrait,  as  Celio  in  the  opera  of 

Native  Land.     On  stone  by  J.  H.  Bufford,  from  a 
sketch  by  Stewart  Watson.     Lith.  of  Endicott. 
Lithograph. 

Miss  Charlotte  Watson  was  born  in  London,  December  2, 
1817.  Her  father  being  a  professor  of  music,  she  was  intro- 
duced to  the  choir  of  Quebec  Chapel,  London,  at  a  very  early 
age.  During  the  celebrated  Paganini's  tour  through  Great 
Britain,  and  afterward  on  the  continent,  he  was  accompanied 
by  Miss  Watson,  as  vocalist.  After  the  termination  of  their 
engagement,  he  induced  her,  by  offers  of  marriage,  to  elope 
from  her  native  land  and  meet  him  at  Boulogne;  but  her 
father,  getting  wind  of  the  affair,  immediately  followed,  and 
arrived  in  season  to  receive  the  young  lady,  persuaded  or 
forced  her  unconditional  return,  and  soon  after  brought  her 
with  him  to  America.  Many  rumors  circulated  with  regard 
to  this  escapade  of  Miss  Watson — harsh  treatment  at  home, 
etc. — but  Paganini  invariably  asserted  the  purity  and  honor 
of  his  intentions,  and  even  afterwards  made  highly  advanta- 
geous offers  to  Mr.  Watson  for  his  daughter's  hand,  which 
were  unceremoniously  declined.  She  made  her  first  appear- 
ance upon  the  American  stage — after  singing  in  concerts  at 
Niblo's  Garden — at  the  Park  Theatre,  New  York,  Oct.  23, 
1834,  as  Cherubino  and  The  Four  Mowbrays,  with  trium- 
phant success.  Her  engagement  extended  to  the  5th  of  Novem- 
ber, during  which  she  appeared  as  Willia.m  in  "Rosina," 
Apollo  in  "Midas,"  Capt.  Macheath,  Mary  Copp,  Julia 
Mannering  and  Little  Pickle.  She  made  her  first  appearance 
in  Boston,  at  the  Tremont  Theatre,  April  13,  1835,  as 
Mary  Copp  in  "Charles  II,"  and  as  Cherubino  in  "The 
Marriage  of  Figaro,"  supported  by  Miss  Cushman  and  Mrs. 
Maeder.  Miss  Watson  married  in  New  York,  on  the  25th 
of  Feb.,  1837,  Mr.  Thomas  Bailey.  She  continued  to  per- 
form occasionally  until  1847,  making  her  last  appearance  at 
the  Park  Theatre,  New  York,  early  in  the  fall  of  that  year  as 
seconda  donna  to  Madame  Anna  Bishop.  She  emerged  from 
her  retirement  Jan.  23,  1851,  to  sing  a  ballad  for  Mr. 
Brough's  complimentary  benefit  at  Niblo's  Garden,  being  her 
final  appearance  in  public,  and  on  the  same  ground  where  she 
had  first  appeared  in  America. 

148.  REEVE     (JOHN— the     Late.)     Engraved     Portrait. 

Childe  del.     H.  Barnett  Sc. 
55 


149.  REEVE  (JOHN,  Mr.)     Portrait,  as  Abrahamides  in 

"Quadrupeds."     Pubd.   by  Ingrey  &   Madeley. 
Lithograph.     Printed  in  colors. 

150.  REEVE   (J.   Mr.)     Portrait,   as  Acres  in  Sheridan's 

comedy  of  "The  Rivals."     Drawn  from  the  life  and 
on  stone  by  J.   H.  Lynch.     Printed  &  Published  by 
Engelmann,  Graf  &  Co.,   1827. 
Lithograph  in  colors. 

151.  REEVE  (JOHN  Mr.)     Portrait,  as  Cupid.     Pubd.  and 

Lithd.  by  G.  E.  Madeley. 
Lithograph  in  colors. 

152.  REEVE  (JOHN  Mr.)     Engraved  Portrait,  "First  vid 

DE    Grace."     Pubd.    by   T.    Williams.     Presentation 
copy  "To  Geo.   H.  Andrews  (the  well  known  actor) 
from  his  sincere  friend,  Jno.  Reeve,  1836." 
Music  Sheet. 

153.  REEVE  (J.  Mr.)     Portrait,  "The  Hoppulant  Man," 

at  the  Theatre  Royal,  Adelphi. 
Lithograph.     Music  Sheet. 

154.  REEVE  (The  late  JOHN.)     Portrait,  in  the  Charac- 

ter of  Jack  Rag.     Sketched  from  life,  a  few  months 
previous  to  his  fatal  illness.      By  R.   J.    Hamerton. 
Pubd.  by  Wm.  Spooner.     Printed  by  Madeley. 
Lithograph.     In  colors. 

155.  REEVE     (JOHN     Mr.)       Engraved     Portrait,     as 

Marmaduke  Magog.     Pubd.  by  Hodgson. 

John  Reeve  was  born  in  London  in  1799,  and  early  in  life  was 
placed  in  a  wholesale  hosiers  establishment,  where  he  paid 
far  more  attention  to  plays  than  to  the  shop,  and  was  dis- 
missed in  consequence  of  his  annoying  the  neighbourhood 
by  his  rehearsal  of  dramatic  scenes  at  night,  on  the  roof  of 
the  establishment.  He  was  next  in  the  banking  house  of 
Messrs.  Gosling,  in  Fleet  Street,  London,  and  became  a 
member  of  a  well  known  amateur  dramatic  club.  While  a 
member  of  this  club,  he  played  at  Pym's  Theatre,  in  Wilson 
Street,    Gray's   Inn   Road,   in    1819,    Othello  and   Sylvester 

56 


Daggerwood,  and  with  such  success  that  he  was  requested 
to  repeat  the  latter  (wherein  he  gave  imitations  of  E.  Kean, 
Munden,  Mathews,  Farren,  etc.),  for  a  benefit  of  Mr.  Rodwell, 
at  Drury  Lane  Theatre,  where  he  made  his  first  appearance, 
on  the  8th  of  June,  1819.     He  was  at  home  in  an  instant; 
caught  the  fancy  of  the  pubUc  at  once,   was  screamed  at 
throughout,   and   had   made   himself   a  favorite   before   the 
curtain  fell.     He  repeated  the  part  the  next  night  for  Lanza's 
benefit,  and  then  played  it  a  few  nights  at  the  Haymarket. 
Soon  after  he  was  engaged  at  the  EngUsh  Opera  House,  under 
Mr.  Arnold's  management,  where  he  appeared  in  a  sort  of 
monologue  called  "1,  2,  3,  4,  5  by  advertisement,"  in  which 
he  sustained  five  characters,  and  whifch  ran  fifty-two  nights 
during  the  season.     In  1819  he  was  at  the  Adelphi  Theatre, 
London,  where  he  discovered  he  had  much  to  learn  in  the 
art  of  acting,  so  he  joined  Macready's  company  at  Bristol, 
playing  many  characters  in  the  regular  drama,  that  he  never 
subsequently  attempted.     While  here,  in   1821,   he  married 
Miss  Aylett,   a  dancer,   who  died  a  few  months  after  her 
marriage.     He  was  next  at  the  Cobourg  Theatre,  London, 
and  rejoined  the  Adelphi  in  1822.     At  the  close  of  the  season, 
with  Wilkinson,  he  gave  the  entertainment  called  "Trifles 
Light  as  Air."     He  was  next  found  at  the  Surrey  and  Cobourg 
Theatres,    then    at    the    Haymarket.     He    returned    to    the 
Adelphi,  and  in  the  dramas  by  Buckstone  and  others,  achieved 
a  reputation  that  has  never  been  exceeded.     In  the  summer 
he  went  to  the  English  Opera  House,  or  occasionally  to  the 
Surrey,  the  Queen's,  the  City  Theatre,  &c.     He  was  next  at 
the  Queen's  Theatre,  and  there  he  played  until  the  summer 
of  1835,  when  he  sailed  to  America,  and  made  his  first  ap- 
pearance   in    New    York,    Nov.    30,    1835,    as    Marmaduke 
Magog   in    "The    Wreck    Ashore,"    and   as   Tom   Twigg   in 
"Catching  an  Heiress."     He  made  his  first  appearance  in 
Boston,    at   the    Tremont    Theatre,    Feb.  1,  1836,    opening 
in  the  character  of  Paul  Pry.     He  was  rarely  perfect  in  his 
parts,  but  made  up  for  the  defect  by  gagging  and  buffoonery; 
and  as  he  was  always  ready,  quick  and  off-handed  with  his 
jokes,  and  always  maintained  an  easy  manner  and  imperturb- 
able expression  of  countenance,  he  often  succeeded  in  con- 
vulsing an  audience  with  laughter,  when  he  should  have  been 
severely  censured  for  an  imperfect  knowledge  of  the  words, 
as  well  as  for  inattention  to  the  proper  business  of  his  part. 
He  had  the  general  aspect  of  a  high  Hver,  and  was  inordinately 
fond  of  his  bottle.     He  made  his  last  appearance  in  New 
York,  Aug.  23,  1836;  and  returning  to  England,    appeared 
in  London,  at  the  Adelphi.     At  the  close  of  the  season  he 
went  with  a  portion  of  the  company  to  the  Surrey  Theatre, 
and  on  the  production  of  a  drama,  called  "The  Wandering 
Tribe,"  he  played  a  part  which  he  had  himself  chosen.    He  was 
as  imperfect  as  ever.     On  the  second  night  of  his  performance 

57 


on  returning  home  he  was  taken  ill,  and  it  was  discovered 
that  he  had  ruptured  a  blood  vessel.  He  grew  moody  and 
nervous,  and  his  natural  vivacity  gave  way  to  melancholy. 
In  October,  1837,  his  name  was  announced  in  the  Adelphi 
bills.  At  length  his  medical  attendants  declared  that  "live 
he  might,  but  act  again  he  never  could."  This  made  a  deep 
impression  upon  him,  and,  as  his  state  was  such  as  to  make 
society  dangerous,  he  was  latterly  left  almost  entirely  alone. 
He  sank  gradually,  and  died  at  his  house  in  Brompton  Row, 
on  Wednesday,  Jan.  24,  1838,  aged  39. 


156.  DIXON  (GEORGE  WASHINGTON.)    The  American 

Melodist.     Portrait.     Shoener  Pinxt.     Pendleton's 
Lithogy.     Boston. 

157.  DIXON  (G.  Mr.)  and  (CLIFTON,  Miss.)     Portraits, 

in  the  new  opera  of  Far  at  Sea.     Williams. 
Lithograph.  The  only  copy  known. 

158.  [DIXON,    G.    W.]     Portrait,    Zip    Coon.     Pubd.   by 

Endicott  &  Swett,   1834. 
Lithograph.     Music  Sheet. 

George  Washington  Dixon  made  his  first  appearance  on  any 
stage,  at  the  old  Amphitheatre,  North  Pearl  Street,  Albany, 
N.  Y.,  in  1827.  He  was  one  of  the  earliest  negro  minstrels, 
and  claimed  for  himself  the  honor  of  being  the  author  of  the 
song  "Old  Zip  Coon."  He  also  became  notorious  through  a 
pretense  of  raising  a  brigade  to  participate  in  the  Yucatan 
troubles,  and  also  as  editor  of  The  Polyanthus,  a  blackmailing 
sheet,  published  in  New  York,  whose  attacks  upon  every- 
body, from  doctors  of  divinity  to  Madame  Restell,  are 
still  remembered.  An  assault  upon  the  character  of  Miss 
Missouri,  sister  of  Josephine  Clifton,  is  said  to  have  caused  her 
death.  Dixon  was  shot  at,  caned,  and  imprisoned  a  number 
of  times,  and  at  last  died  in  the  Charity  Hospital,  in  New 
Orleans,  in  March,  1861.  He  made  his  first  appearance  in 
Boston,  on  the  23rd  of  Feb.,  1836,  at  the  Tremont  Theatre, 
for  benefit  of  Thomas  Comer,  as  Henry  Blunt  in  "The  Turn- 
pike Gate,"  in  which  he  sang,  "The  Sea!  the  Sea!" 

159.  DOWTON    (WILLIAM.)      Engraved    Portrait. 

S.  Dewilde  pinxt.     T.  Cheesman,  sc. 
58 


160.  DOWTON    (Mr.)     Portrait,    as    Balthazar   in    The 

Fisherman's  Hut.     I.  R.  C.  fecit. 
Etching  colored. 

161.  DOWTON    (Mr.)     Engraved    Portrait,    as    Doctor 

Cantwell  in  The  Hypocrite.     Drawn  by  De  Wilde. 
Engd.  by  R.  Cooper. 
Tinted  in  color. 

162.  DOWTON   (Mr.)     Engraved   Portrait,  as  Sir  John 

Falstaff.      Wageman    del.      Dean    sc.      Pubd.     by 
J.  Cumberland. 
India  Proof. 

163.  DOWTON  (Mr.)     Engraved  Portrait,  as  Francisco. 

Alais  sc.     Pubd.  by  John  Roach. 

164.  DOWTON  (Mr.)  (HARLOWE,  Mrs.)  (LISTON,  Mr.) 

Portraits,  as  Dr.  Cantwell,  Old  Lady  Lambert, 
and  Mawworm.     Hypocrite,  Act  2,  Sc.  1st.     Drawn 
&    Engd.    from    life    by    J.    W.    Gear.     Printed    by 
C.  Hullmandel. 
Lithograph.     Oblong  folio. 

165.  DOWTON    (Mr.)     Portrait,    as    Major    Sturgeon. 

S.   De  Wilde  pinx.     T.   Wageman  sculp.     Pubd.   by 
I.  Clark,  1808. 
Etching.     Colored.     Folio. 

166.  DOWTON  (Mr.)     Portrait,  as  Sir  Robert  Bramble, 

June  8th,  1840.     T.  C.  W.     W.  Clerk  lith.     Pubd.  by 
F.  Glover. 
Lithograph. 

William  Dowton  was  born  at  Exeter,  England,  in  1766,  and 
at  the  age  of  16  was  articled  to  an  architect.  During  his 
apprenticeship  he  performed  Carlos  in  "The  Revenge,"  at  a 
private  theatre,  so  satisfactorily  to  himself  that  he  joined  a 
company  of  strollers,  and,  after  enduring  various  hardships, 
was  engaged  at  the  Weymouth  Theatre,  whence  he  afterward 
returned  to  Exeter,  playing  leading  characters  of  tragedy  with 
success.  He  next  joined  a  theatre  in  Kent,  conducted  by  a 
Mrs.  Baker,  whose  daughter  he  married.     He  made  his  first 

59 


appearance  in  London,  at  Drury  Lane,  as  Sheva  in  "The 
Jew,"  Oct.  10,  1796,  with  great  success.  In  1805,  he  was 
engaged  at  the  Hay  market,  and  in  1816  reappeared  at  Drury 
Lane,  as  Shylock.  He  was  afterwards  manager  of  the  theatres 
at  Maidstone,  Canterbury,  &c.,  but  these  he  finally  trans- 
ferred to  his  son,  and  confined  himself  to  the  duties  of  an 
actor,  either  in  London  or  the  provinces.  He  made  his  first 
appearance  in  America,  June  2,  1836,  at  the  Park  Theatre, 
New  York,  in  the  character  of  Falstaff.  His  first  appearance 
in  Boston,  was  at  the  Tremont  Street  Theatre,  June  23, 
1836,  and  was  the  great  feature  of  the  season,  and  during  the 
engagement  he  played  a  variety  of  parts,  among  others  Sir 
Anthony  Absolute,  Old  Dornton,  Sir  John  Falstaff,  Dr.  Cant- 
well,  Sir  Peter  Teazle,  &c.,  &c.  The  receipts  on  his  benefit 
night  amounted  $1040.25.  He  returned  to  England,  and 
becoming  much  reduced  in  his  financial  circumstances,  a 
benefit  was  given  to  him  at  Her  Majesty's  Theatre,  London, 
June  8,  1840,  when  the  comedy  of  the  "Poor  Gentleman"  was 
performed,  with  a  most  excellent  and  remarkable  cast,  in 
which  he  himself  enacted  Sir  Robert  Bramble.  The  proceeds 
of  this  benefit  were  sufficient  to  purchase  an  annuity,  ample 
for  the  entire  comfort  of  the  remainder  of  his  life.  He  died 
at  Brixton,  England,  April  19,  1851.  In  private  life  he  was 
a  man  of  cheerful  and  gentlemanly  demeanor — a  pleasant 
companion,  and  an  excellent  friend. 

167.  MURDOCK      (JAMES      E.)       Portrait.       Lith.      by 

F.    D'Avignon,   from    Daguerreotype,  by  McClees  & 
Germon.     Facsimile  autograph. 
Lithograph. 

168.  MURDOCH  (J.  E.  Mr.)     Portrait,  as  Hamlet.     Lith. 

by    F.    D'Avignon.     Dag.    by    McClees    &    Germon. 
Pubd.  by  McClees  &  Germon. 
India  Paper. 

James  E.  Murdock  was  born  in  Philadelphia  in  1813.  He 
early  gave  his  attention  to  books  and  dramatic  elocution,  and 
overcoming  the  objection  of  his  friends,  made  his  first  pubhc 
appearance  upon  the  stage  of  the  Arch  Street  Theatre,  Phila- 
delphia, in  October,  1829,  as  Frederick  in  "Lovers'  Vows," 
and  was  at  the  Chestnut  Street  Theatre,  the  season  following. 
On  the  27th  July,  1836,  he  made  his  debut  in  New  York,  as 
Jaffier  in  "Venice  Preserved,"  at  the  Richmond  Hill  Theatre. 
He  made  his  first  appearance  in  Boston,  at  the  Tremont 
Theatre,  as  Henry  in  "Speed  the  Plough,"  8th  of  August, 
1836.  Made  his  debut  in  New  York,  at  the  Park  Theatre, 
as  Claude  Melnottc,  being  engaged  to  support  Miss  Ellen 

60 


Tree,  in  a  line  of  favorite  characters,  on  the  4th  of  June,  1838. 
About  1842,  he  withdrew  from  the  stage  for  the  purpose  of 
study,  and  at  the  same  time  gave  lessons  in  elocution  to 
students  and  practitioners  of  law  and  divinity,  and  in  the 
theological  colleges  of  Newton,  Mass.,  and  Bangor,  Me. 
He  also  lectured  upon  Shakespeare's  characters,  in  Boston, 
Philadelphia  and  New  York.  On  his  return  to  the  stage, 
he  made  his  first  appearance  in  the  character  of  Hamlet,  at 
the  Park  Theatre,  New  York,  Oct.  20,  1845.  Afterwards  he 
toured  the  country  from  Canada  to  California,  making  his 
debut  in  San  Francisco,  at  the  American  Theatre,  Aug.  23, 
1853.  He  made  a  most  successful  trip  to  England,  making 
his  debut  at  the  Haymarket  Theatre,  London,  Sept.  22,  1856, 
as  Young  Mirabel.  Returning  to  America,  he  made  his 
first  appearance  at  Burton's  Broadway  Theatre,  Sept.  7, 
1857,  as  Young  Mirabel.  During  the  Civil  War  in  this 
country,  he  gave  readings  in  aid  of  the  Sanitary  Commission 
— read  to  and  encouraged  the  men  in  the  field,  and  helped  the 
sick  and  wounded.  He  reappeared  upon  the  stage,  Oct.  23, 
1865,  at  Pike's  Opera  House,  Cincinnati,  which  proved  one 
of  the  most  brilliant  engagements  ever  filled  by  any  star  in 
that  city.  In  1836,  the  public  soon  discovered  the  merits 
of  this  excellent  actor,  and  he  became  at  once  very  popular. 
He  had  not  been  seen  in  public  for  five  or  six  years,  prior  to 
his  death,  his  last  public  appearance  being  at  the  Odeon, 
Cincinnati.  He  died  May  19,  1893,  at  his  home,  Murdoch, 
Ohio.  For  two  years  prior  to  his  demise  he  had  been  a 
sufferer  from  various  ailments,  which  confined  him  to  his  bed 
a  greater  part  of  that  time,  and  during  that  period  he  wrote 
the  biographies  of  Eliza  Riddle,  Eliza  Logan,  and  Julia  Dean, 
three  famous  western  actresses. 

169.     CLIFTON  (JOSEPHINE.) 

India  Ink  Drawing. 


170.     CLIFTON  (JOSEPHINE.)     Portrait. 
Water  Color. 

Miss  Josephine  Clifton  was  born  in  New  York,  about  1813, 
making  her  first  appearance  at  the  Bowery  Theatre,  as 
Belvidera,  supported  by  Barton  as  Pierre,  and  Hamblin  as 
Jaf&er,  Aug.  21,  1831.  Her  surpassing  beauty  of  face  and 
person,  her  youth  and  aptitude,  her  fine  voice  and  expressive 
action,  commanded  a  success  almost  unprecedented  for  a 
debutante,  and  she  soon  became  an  acknowledged  star.  In 
1834  she  crossed  the  Atlantic  and  made  her  debut  on  the 
London  stage,  at  Drury  Lane  Theatre,  Oct.  4,  1834,  as 
Belvidera,    being    the    first  actress  of  American    birth    who 

61 


visited  England  as  a  star.  She  made  her  first  appearance  in 
Boston,  Oct.  3,  1836,  at  the  Tremont  Street  Theatre,  as 
Bianca  in  "Fazio."  With  a  majesty  of  mien,  unsurpassed 
by  any  actress,  she  presented  the  varied  passions  of  the  tragic 
scene  in  a  manner  which  commanded  respect  and  challenged 
admiration.  Her  Bianca  many  recall  with  great  pleasure,  as 
one  of  the  theatrical  portraitures  which  hang  upon  memory's 
wall,  as  vivid  to  the  mental  eye  as  when  first  beholden.  She 
married  Mr.  Robert  Place,  manager  of  a  theatre  in  New 
Orleans,  July,  1846;  and  died  in  that  city,  Nov.  22,  1847. 
Her  remains  repose  in  Ronaldson's  Cemetery,  Philadelphia. 


171.  KEELEY  (Mr.)   Portrait,  as  Billy  Black.    "Keeley's 

Bundle  of   Conundrums."     Portrait.     Drawn  on 
stone,   from    life,    by   J.    W.    Gear.     Printed   by   C. 
Hullmandel. 
Lithograph.     Music  Sheet. 

172.  KEELEY  (Mr.)     Portrait,  as  Jacob  Earwig  in  "Boots 

at  the  Swan."     This  Exhibit  has  wrongly  inscribed 
on  it — Keeley   as   Billy   Black,  in   Mr.  Peake's. 
Farce  of  the  £100  Note,  "Do  you  give  it  up?" 
Lithograph.     Hand  colored. 

See  Goodman's  "The  Keeleys  on  the  stage  and  at  Home, "  p.  1 75. 

173.  KEELEY  (Mr.)     Engraved  Portrait,  in  the  Charac- 

ter of  Jemmy  Green.     Anon. 

174.  KEELEY  (Mr.)     Portrait,    as    Nichodahmus    Crow- 

quill.       Robt.     Cruikshank    fecit.      Pubd.    by    W. 
Kenneth,  1827. 
Etching.     Proof. 

175.  KEELEY  (Mr.)    Portrait,  as  Orange  Moll  in  "Nell 

Gwynne."     Lithogd.    &   Printed   by   G.  E.  Madeley. 
From  a  picture  by  H.  Meyer. 

176.  KEELEY  (Mr.)     Portrait,  as  Signor  Sylli  in  "Maid 

OF  Honor." 
Proof  before  all  letters. 

62 


177.  BYFIELD  (Miss)  and   (KEELEY  Mr.)     Portraits,  as 

Rebecca  and  Wamba  in  The  Maid  of  Judah.   Drawn 
from  life  and  on  stone  by  Hamberger,  for  the  Dramatic 
Magazine.     Pubd.  by  Whittaker,  Treacher  &  Co.,  1829. 
Lithograph. 

Robert  Keeley — "Little  Bob" — was  one  of  a  family  of  sixteen 
and  was  born  in  1793  at  Lincoln's  Inn  Fields,  London.  He 
was  originally  a  compositor,  and  when  20  years  old  he  ap- 
peared on  the  stage  of  the  Richmond  Theatre,  England,  and, 
after  a  provincial  tour,  made  his  first  appearance  in  London 
at  the  Prince  of  Wales'  Theatre,  then  known  as  the  West 
End.  The  season  ending  abruptly,  he  went  to  Birmingham, 
where  the  great  Elliston  saw  him  and  brought  him  back  to 
London,  to  the  Olympic.  Here,  as  Leporello  in  "Giovanni 
in  London,"  he  made  his  first  hit.  This  was  in  1818,  and  the 
year  following  he  was  at  Drury  Lane.  Later  he  went  to  the 
Adelphi  Theatre,  making  his  mark  there  as  the  original 
Jemmy  Green  in  Pierce  Egan's  "Tom  and  Jerry,"  and  on 
April  8,  1822,  he  astonished  London  by  his  great  performance 
of  Jerry  in  the  same  play,  at  Sadler's  Wells  Theatre.  In  the 
fall  of  that  year  he  appeared  for  the  first  time  at  Covent 
Garden  Theatre,  as  Darby  in  "The  Poor  Soldier,"  and  during 
his  engagement  there  he  married  Mary  Anne  Goward.  He 
and  his  wife  joined  the  Cobourg  Theatre,  London,  in  1833, 
and  three  years  later  came  to  America,  making  their  debut, 
Sept.  19,  1836,  in  "The  Loan  of  a  Lover,"  and  "My  Master's 
Rival,"  at  the  Park  Theatre,  New  York.  Keeley  as  Peter 
Spyk  and  Paul  Shack,  and  Mrs.  Keeley  as  Gertrude  and 
Tibby  Postlewaite.  Mr.  and  Mrs.  Keeley  made  their  first 
appearance  in  Boston,  Nov.  7,  1836,  at  the  Tremont  Street 
Theatre.  Their  stay  in  this  country  was  brief,  however, 
notwithstanding  their  success,  for  they  returned  to  England 
the  next  summer,  and  soon  joined  Madame  Vestris,  with 
whom  they  continued  some  years.  For  the  next  few  years 
the  comedian  was  with  diflFerent  managers  in  London  and 
the  provinces.  At  one  time  he  joined  Strutt  in  the  manage- 
ment of  the  Lyceum  Theatre,  London,  and  for  a  time  was  in 
partnership  with  Charles  Kean  at  the  Princess's.  His  last 
engagement  was  at  Drury  Lane,  and  it  was  at  that  theatre  he 
made  his  final  salaried  appearance  on  the  stage  in  "The  Cure 
for  the  Heartache,"  although  after  his  retirement  he  played 
on  two  occasions  at  benefits.  He  died  February  3,  1869,  in 
England. 

178.  GOWARD   (Miss.)     Portrait,  as  Lisette  in  "Home, 

Sweet    Home."     Drawn   by  Robert  Criiickshank  & 
Engd.    by    Richard    Sawyer.     Pubd.    by    Whittaker, 
Treacher  &  Co.,  1829. 
63 


179     GOWARD    (Miss.)     Portrait,    as    Rosanthe.     Wilde 
pinxt.     Page  sculpt.     Pubd.  by  John  Duncombe. 

180.     KEELEY  (MARY  ANNE.)    Portrait,  in  the  Character 
of  Jack  Sheppard.     R.J.  Lane.     Pubd.  by  J.  Mitchell. 
Lithograph  in  colors.     Framed. 

Mary  Anne  Goward — Mrs.  Keeley — was  born  at  Ipswich, 
England,  in  1805.  Spending  a  portion  of  her  youth  at  Yar- 
mouth, she  came  in  contact  there  with  all  the  local  players, 
and  by  them,  apparently,  was  persuaded  to  join  their  ranks, 
and  it  was  there  she  made  her  professional  debut  as  Lucy 
Bertram  in  "Guy  Mannering."  Thence  she  went  to  Dublin, 
figuring  as  Polly  in  "The  Beggars'  Opera,"  and  thence  to  a 
number  of  towns  in  the  English  provinces.  At  length  came 
the  opportunity  to  appear  in  London,  where  she  was  engaged 
for  the  English  Opera  House  (Lyceum),  making  her  bow  on 
the  evening  of  Saturday,  July  2,  1825,  as  Rosina  in  the  popu- 
lar operetta,  and  as  Little  Pickle  in  "The  Spoiled  Child." 
That  she  achieved  an  instant  triumph  is  shown  by  the  man- 
agerial note  on  the  play-bill  of  the  following  Monday,  which 
we  reproduce,  "The  whole  of  the  Performances  of  Saturday 
Evening,  in  which  Mr.  Thorne  and  Miss  Goward  experienced 
the  most  unequivocal  and  decided  success,  having  been  re- 
ceived with  acclamations  of  applause,  will  be  repeated  this 
Evening."  In  speaking  of  this  appearance  Mrs.  Keeley 
says,  "I  was  so  dreadfully  frightened  when  I  got  on  the  stage, 
that  I  turned  round,  and  was  going  to  bolt  back  to  the  wings: 
but  Broadhurst  (the  tenor  in  "Rosina")  caught  hold  of  me, 
and,  I  think  I  swore."  One  of  her  Adelphi  characters,  Nydia 
in  the  "Last  Days  of  Pompeii,"  was  much  appreciated.  In 
the  earliest  theatrical  version  of  "Nicholas  Nickleby"  she 
achieved  a  veritable  triumph  as  Smike.  In  her  next  essay 
she  was  even  more  fortunate.  Ainsworth's  "Jack  Sheppard" 
had  taken  London  by  storm,  and  before  long,  in  1839,  a 
dramatic  version  of  the  story  was  brought  out  at  the  "Adelphi," 
with  Mrs.  Keeley  made  up  exactly  according  to  Sir  James 
Thornhill's  famous  picture,  as  the  housebreaking  and  prison- 
breaking  hero.  Her  acting — spirited,  picturesque,  never 
coarse,  and  marked  by  many  a  gleam  of  humour  and  tender- 
ness— supplied  all  that  was  needed  to  give  the  play  what  in 
those  days  was  a  long  run,  and  the  prosperity  of  the  theatre 
rose  to  the  highest  point  it  had  reached  since  the  time  of 
"Tom  and  Jerry."  From  this  time  she  held  a  high  and  assured 
position  on  the  stage.  In  1842,  after  a  brief  season  at  the 
new  Strand  Theatre,  she  joined  Macready  at  Drury  Lane, 
there  to  play  Nerissa  in  the  "Merchant  of  Venice,"  playing 
many  parts  afterwards  most  successfully.     In  1844,  she  and 

64 


Mr.    Keeley   undertook   the    management    of   the     Lyceum 
Theatre.     Burlesques  by  Planche  and  Dance  were  the  staple 
entertainments  here,  but  none  of  them  did  so  much  for  her 
fame  as  adaptations  by  Albert  Smith  of  Dickens'  "Cricket 
on  the  Hearth"  and  "The  Battle  of  Life,"  in  which  she  was 
Mrs.     Perrybingle    and    Clemency    Newcome,    respectively. 
Migrating   to    the    Haymarket    Theatre,    towards    the   end 
of   1847,   she   appeared  as  Susanne  Grasset  de   Villedieu  in 
"The  Roused  Lion,"  Jane  in  "Wild  Oats,"  and  Rachel  in  "The 
Rent  Day."     At  the  same  house  she  acted  Maud  in  "The 
Wife's  Secret,"  when  that  play  was  first  produced  in  London, 
by  Charles  Kean.     In   1850  the  latter  and  Robert  Keeley 
took  the  Princess's  Theatre,  opening  it  with  a  performance 
of   "Twelfth   Night."     Mrs.    Keeley  followed  them  thither, 
though  only  to  return  almost  immediately  to  the  Adelphi. 
In    1857,  she   went   to   Drury   Lane  Theatre  to  act  Frank 
Oatlands  in  "A  Cure  for  the  Heartache,"  and  in  1859,  to  the 
Lyceum  Theatre  to  heighten  the  attractiveness  of  Robert 
Brough's  burlesque  of  "The  Siege  of  Troy."     With  this  her 
connection   with   the   stage   virtually   came  to  an  end.     In 
possession  of  a  sufficient  competency,  she  lived  thenceforward 
in  tranquil  and  dignified  retirement,  emerging  from  it  only 
to  take  part  in  performances  for  the  benefit  of  J.  B.  Buck- 
stone,  Mrs.   Mellon,  Charles  Mathews,  Celeste,  and  others 
who  had  claim  upon  her  good  will.     Perhaps  the  most  im- 
portant   of   her    "retirement"    performances   was   when,    on 
March  21,  1891,  she  revisited  her  birthplace,  Ipswich,  after 
an  absence  of  more  than  half  a  century,  to  take  part  in  the 
opening  of  a  new  theatre,  called  the  Lyceum,  which  had  been 
recently  erected  there.     She  had  the  honour  by  a  special 
invitation  from  the  Queen,  who  expressed  a  wish  to  see  her, 
of  being  received  at  Buckingham  Palace,  in  March,   1895, 
when  she  was  presented  to  Her  Majesty,  to  the  Empress 
Frederick,    and    to    Princess    Louise.     She    was    tendered   a 
testimonial  in  honor  of  her  ninetieth  birthday  on  the  after- 
noon of   Friday,    Nov.   22,    1895,  at  the   Lyceum  Theatre, 
London,   one  of  the   most  remarkable  occasions  in  modern 
theatrical  history.     The  affair  was  under  the  patronage  of 
the   Queen,   the   Prince  and  Princess  of   Wales   and   others 
of  the  royalty  and  nobility,  and  in  the  performance  many  of 
England's    prominent    players    took    part.     She    died    from 
pneumonia,  March  12,  1899,  in  London. 

181.  RICE    (T.   Mr.)     Engraved  Portrait,  as  Jim  Crow. 

Pubd.  by  J.  K.  Green.     Lend.,  1837. 

182.  RICE   (T.   D.    Mr.)     Portrait,   "vSich  a   Getting   up 

Stairs."     Madeley,  lith. 
Lithograph.     Music  Sheet. 

65 


Thomas  D.  Rice,  "Jim  Crow"— was  born  in  New  York,  May 
20,  1808.  He  made  his  first  appearance  in  negro  character 
at  Ludlow's  Amphitheatre,  Louisville,  Ky.  He  made  his 
Ethiopian  debiit  in  New  York,  at  the  Bowery  Theatre,  Nov. 
12,  1832,  in  his  song  of  Jim  Crow,  which  attained  a  popularity 
unequaled  by  anything  of  the  kind  before  or  since,  and 
"Wheeled  About,"  its  lucky  chaunter  from  poverty  to  fame 
and  fortune.  He  was,  ten  years  before,  a  supernumerary  at 
the  Park  Theatre.  He  was  at  the  Lafayette  Theatre,  in 
1832,  and  afterward  went  West,  and  played  many  low  comedy 
parts  with  success,  but  not  until  he  commenced  his  negro- 
singing  and  burlesque  operatic  performances,  was  he  con- 
sidered of  sufficient  note  to  render  his  name  attractive.  His 
popularity  for  a  while  was  unbounded.  In  1836,  he  visited 
London,  sung  with  great  applause  at  the  Surrey  and  other 
theatres— and  toured  the  provinces.  When  he  returned  to 
America,  he  was  eagerly  sought  after  by  the  managers.  He 
made  his  first  appearance  in  Boston,  at  the  Tremont  Theatre, 
in  the  season  of  1837-8,  and  was  there  in  1841  and  1842;  at 
the  National  Theatre,  Boston,  in  1844  and  1845;  and  at  the 
Boston  Theatre  the  season  of  1847-8.  He  opened  with 
Wood's  Minstrels,  in  New  York,  Aug.  4,  1858.  About  1840 
he  was  for  a  time  deprived  of  speech  and  the  use  of  his  limbs 
by  an  attack  of  paralysis,  and  suffered  much  until  the  day  of 
his  death,  which  occurred  in  New  York,  Sept.  19,  1860. 

183.     HILDRETH  (SARAH.)     Portrait.     Artist  unknown. 
India  Ink  Drawing. 

Miss  Sarah  Hildreth,  daughter  of  Dr.  Israel  Hildreth,  of 
Lowell,  Mass.  She  was  born  in  1821.  She  became  enamored 
of  the  stage,  and  while  on  a  visit  to  Brooklyn,  N.  Y.,  put 
herself  under  the  tuition  of  Mrs.  Vernon,  and  made  her 
debut  upon  the  stage,  Aug.  10,  1837,  at  the  Park  Theatre, 
New  York,  as  Mariana  in  "The  Wife,"  for  the  benefit  of 
Mr.  Chippendale,  and  the  season  following,  she  was  engaged 
by  Mr.  Abbott  for  the  juvenile  ladies  in  his  theatres  at 
Charleston  and  Columbia,  S.  C.  She  played  the  season  in 
those  two  cities,  and  a  brief  engagement  in  conjunction  with 
Louis  F.  Tasistro,  at  Savannah,  Ga.  She  was  next  engaged 
by  Weston  &  Co.,  and  performed  in  Wilmington  and  Fayette- 
ville,  N.  C,  and  in  Norfolk  and  Portsmouth,  Va.,  returning 
home  from  the  latter  place.  In  1842,  she  was  engaged  for 
the  leads  at  the  National  Theatre,  Cincinnati,  where  she 
opened  as  Rosalind,  but  resigned  her  position,  after  three 
months  service,  during  which  time  she  had  played  a  star 
engagement  at  Louisville,  and  received  a  complimentary 
benefit  which  was  attended  by  the  elite  of  Cincinnati,  with 
whom  she  had  a  large  acquaintance,  on  which  occasion  she 
performed  the  character  of  Ion  with  marked  ability.     General 

66 


B.  F.  Butler,  to  whom  she  was  then  engaged,  was  present  at 
this  performance.  They  were  soon  after  married,  and  it  is 
said  she  exacted  a  condition  from  him  that  she  should  be 
allowed  to  return  to  the  stage  at  the  end  of  a  year,  if  she 
wished;  but  the  cares  of  a  family  changed  her  views,  and  she 
has  never  since  appeared  before  the  public.  She  made  her 
debut  in  Boston  in  the  season  of  1837-38,  at  the  Tremont 
Theatre,  and  during  the  engagement  played  Mariana  in 
"The  Wife,"  Bianca,  Lady  Teazle,  etc.  She  died  in  Boston, 
April  8,  1876.  She  had  an  only  daughter  who  married 
Genl.  A.  Ames  of  the  U.  S.  Army. 

184.  TREE    (ELLEN.)     Engraved    Portrait.     Sir    W.    C. 

Ross,  A.R.A.     J.  C.  Armytage. 
Colored  by  hand. 

185.  TREE  (ELLEN,  Miss.)     Engraved  Portrait.     Painted 

by  Eliza  Drummond.     Engd.  by  T.  Woolnoth. 

186.  TREE    (ELLEN.)     Portrait,    as    Clemanthe.     Lane. 

Graf  print.     Pubd.  by  J.  Mitchell,  1839. 
Lithograph  in  colors. 

187.  TREE  (ELLEN.)     Portrait,  as  Hero  in  Woman's  Wit. 

Henri  Heideman's,  1838.     From  a  sketch  by  W.  H.  P. 
N.   Currier's  Lith.     Pubd.  by  J.   &  H.   G.   Langley, 
N.  Y.,  1838. 
Lithograph. 

188.  TREE  (ELLEN,  Miss.)     Portrait,  as  Rachel  in  The 

Jewess. 
Lithograph  colored. 

189.  TREE   (ELLEN.)     Portrait,  as  Rosalind.     R.  J.   L. 

J.  Graf  print.     Pubd.  1836,  by  J.  Mitchell. 
Lithograph  colored.     India  paper. 

190.  TREE     (ELLEN     Miss.)      Engraved     Portrait,     as 

ViOLANTE.     Abm.   Wivell  del.    1826.     Phillips  pinxt. 

Colored  by  hand. 

Miss  Ellen  Tree  was  born  in  London,  England,  in  the  month 
of  December,  1805.     In  1823,  she  made  her  first  appearance 

67 


in  London,  at  Covent  Garden  Theatre,  as  Olivia,  in  "Twelfth 
Night,"  afterwards  playing  at  the  Bath  and  Birmingham 
Theatres,  at  the  latter,  she  was  the  leading  actress  in  1826, 
and  on  the  23rd  of  September,  in  that  year,  made  her  debut 
at  Drury  Lane  Theatre,  as  Donna  Violante.     She  afterward 
went  to  Covent  Garden,  where  she  played  her  first  original 
tragic  part,  Francoise  de  Foix,  in  Fanny  Kemble's  "Francis  I," 
and  here  she  played  Julia  in  "The  Hunchback,"  so  well  that 
the  character  of  Mariana,  in  "The  Wife,"  was  written  ex- 
pressly for  her,  and  played  by  her  over  fifty  nights  in  one 
season.     Talfourd's  "Ion"  also  found  in  her  its  most  success- 
ful representative,  and  carried  her  reputation  as  a  strictly 
classical  actress  to  the  very  highest  point.     In  1836,  her  popu- 
larity became  so  universal  in  England  and  abroad  that  a  trip 
to  America  was  determined  upon,  and  on  Dec.  12,  she  first 
played  in  this  country  at  the  Park  Theatre,  New  York,  as 
Rosalind,    and    as    Pauline   in   a   new    play,    entitled   "The 
Ransom."     On  the  2nd  of  Feb.,  1837,  she  first  played  Ion  in 
this  country,  and  her  exquisite  delineation  of  the  unhappy 
stripling  created  a  profound  sensation.     On  Feb.  20,  1837, 
she  appeared  at  the  Tremont   Theatre,   as  Julia  in   "The 
Hunchback."     Her  reputation  had  preceded  her  to  this  city, 
and  in  consequence  she  was  received  with  an  unusual  degree  of 
enthusiasm  from  our  playgoers.     Her  engagement  in  Boston 
lasted  five  weeks.     Her  first  American  tour  lasted  two  years, 
and  was  successful  far  beyond  her  expectations  or  the  hopes 
of  her  friends.     On  returning  to  England,  in  1839,  she  found 
herself  more  popular  than  ever,  winning  not  only  the  admira- 
tion of  the  public,  but  also  that  of  Charles  Kean,  who,  on 
Jan.    29,    1842,    was   married   to  her  in  Dublin.     They  had 
first  played  in  the  same  company  as  far  back  as  1827-8  when 
Kean  made  his  first  appearance  as  Young  Norval.     In  1842, 
she  appeared  with  Mr.  Kean  at  the  Haymarket  Theatre,  in 
various  Shakspearean  and  poetic  dramas,  and  the  two  fol- 
lowing seasons  they  acted  together  at  the  Haymarket  and 
Drury  Lane  Theatres.     In  1845,  they  revisited  this  country 
and  were  enthusiastically  received,  producing  "The  Wife's 
Secret,"   "Two  Gentlemen  of  Verona,"  and  "King  John," 
with  accessories  of  dresses,  armor,  scenery  and  properties 
which  made  these  performances  among  the  most  noticeable 
events  of  that  period.     On  Oct.   19,   1846,  they  began  their 
first  joint  engagement  in  this  city  at  the  Boston  Theatre  on 
Federal  Street  in  "The  Gamester,"  and  the  remembrance  of 
their  previous  appearances  here  as  separate  stars  called  forth 
a  brilliant  assembly  of  spectators.     Shortly  after  their  return 
to   England,    Mr.    Kean   assumed   the  management   of   the 
Princess's  Theatre,  London,  where,  in  various  famous  Shake- 
spearean revivals,  she  invariably  acted  the  leading  female 
character,  and  occasionally  appeared  in  the  new  plays  of 
Westland    Marston,    Douglas    Jerrold,    and    others.     These 

68 


revivals  ended  in  the  fall  of  1859.  They  played  various  en- 
gagements until  Mr.  Kean's  death,  Jan.  22,  1868,  including 
another  tour  of  this  country  in  1865-66,  and  a  visit  to  the 
Boston  Theatre,  in  "King  Henry  VIII,"  "The  Jealous  Wife," 
"The  Merchant  of  Venice,"  "Louis  XI,"  and  "Macbeth." 
Thereafter  she  lived  in  retirement,  until  her  death,  on  the 
20th  of  August,  1880. 

191.  VANDENHOFF  (J.)     Portrait.     G.  S.  Freeman  delin. 

1836.     On  stone  by  E.  Morton  from  a  drawing  by  G. 
Freeman.     Printed  by  Graf  &  Soret. 
Lithograph.     India  Proof. 

192.  VANDENHOFF  (J.)     Portrait,  as  Adrastus.     Lane. 

T.    Graf  print.     Facsimile   autograph.     Pubd.   by  J. 
Mitchell,  1839. 
Lithograph.     Tinted. 

193.  VANDENHOFF   (J.)     Portrait,   as  Cato.     Lane.     J. 

Graf    print.     Facsimile    autograph,    July    25,     1839. 
Pubd.  by  J.  Mitchell,  1839. 
Lithograph.     Tinted. 

194.  VANDENHOFF    (Mr.)      Engraved    Portrait,    as 

Coriolanus.     Drawn  &  Engd.  by  W.  H.  Lizars. 

195.  VANDENHOFF   (J.)     Portrait,  as  Master  Walter. 

Artist  unknown. 
Water  Color  drawing. 

Mr.  John  Vandenhoff  was  born  at  Salisbury,  England,  March 
31,  1790,  educated  at  the  Jesuits'  College,  Stonyhurst,  and 
intended  for  the  priesthood.  Preferring  the  stage,  he  made 
his  first  appearance  at  SaHsbury,  as  Earl  Osmond,  May,  1808. 
From  that  period  until  1820,  he  continued  to  perform  in  the 
provinces,  and  at  the  Liverpool  and  Manchester  Theatres, 
especially,  was  welcomed  with  enthusaism  in  the  loftiest 
characters  of  the  drama.  In  1820,  he  first  appeared  at 
Covent  Garden  Theatre,  but  it  was  not  until  his  performances 
at  the  Haymarket  Theatre,  in  1834,  that  he  was  awarded  a 
position  equal  in  rank  with  the  most  consummate  artists  of  the 
age.  His  style  of  acting  has  been  described  as  lofty,  grand, 
and  heroic,  and  his  personations  of  Coriolanus,  Cato,  Brutus, 
Virginius,  Adrastus,  and  Creon,  pronounced  all  but  faultless. 
He  made  his  first  appearance  in  Boston,  Dec.  4,  1837,  at  the 

69 


Tremont  Theatre,  as  Coriolanus,  and  during  his  engagement 
played  Macbeth,  Cato,  Brutus,  Virginius,  Othello,  and 
Hamlet.  Words  were  wanting  to  express  the  admiration  of 
the  critics  of  this  gentleman's  transcendent  talents.  Many 
who  remembered  Cooke,  pronounced  Vandenhoff  his  superior, 
and  his  Cato — a  part  in  which  even  Garrick  failed — and  his 
Hamlet,  are  remembered  by  many  as  perfect  masterpieces. 
He  returned  to  Europe.  He  made  his  first  appearance  in 
America,  at  the  National  Theatre,  New  York,  Sept.  11,  1837, 
as  Coriolanus.  At  the  end  of  the  season  he  returned  to 
Europe,  but  revisited  this  country  in  1839,  with  his  daughter, 
whom  he  brought  out  at  Niblo's.  He  afterwards  played  at 
the  Park  Theatre,  and  again  at  the  National  Theatre,  when 
rebuilt,  and  there  took  his  farewell  of  America,  March  6, 
1841.  He  returned  to  England,  played  at  Drury  Lane  and 
throughout  the  country,  and  bade  a  final  adieu  to  the  pro- 
fession he  had  graced  for  fifty  years,  at  Liverpool,  October 
29,  1858.  He  died  in  October,  1861,  in  his  72nd  year,  at  34, 
North-bank,  Regent's  Park,  London.  His  performances  in 
America  received  the  highest  encomiums  from  the  press  and 
the  public,  while  his  private  character  was  such  as  to  recom- 
mend him  to  the  undivided  respect  of  all  who  knew  him. 

196.  HAMBLIN    (Mrs.)     Portrait,    as   The    Countess   in 

"Love." 
Photograph  Hand  Colored. 

V 

197.  SHAW-HAMBLIN     (Mrs.)        Portrait,     as     Young 

NORVAL. 

Process  Print.     Hand  colored. 

Mrs.  Shaw  (Mrs.  Hamblin)  made  her  first  appearance  in 
America,  on  the  25th  of  July,  1836,  at  the  Park  Theatre,  as 
Mariana  in  "The  Wife."  This  lady,  of  whom  the  public 
knew  nothing  previous  to  her  appearance,  made  a  powerful 
impression,  and  soon  became  one  of  the  most  popular  and 
attractive  stars.  Her  maiden  name  was  Eliza  Marian 
Trewar,  and  she  made  her  first  appearance  on  the  stage,  in 
1816,  at  Drury  Lane,  in  the  ranks  of  the  Liliputian  army  raised 
to  support  the  infantile  pretensions  of  Clara  Fisher  to  the 
crown  and  truncheon  of  Richard  IIL  She  was  in  the  full 
prime  of  womanly  beauty  on  her  arrival  here,  and  rarely  have 
so  many  charms  of  figure,  face  and  mind  been  united  in  one 
individual.  Her  talents  were  happily  adapted  to  either  of 
the  higher  walks  of  the  drama,  but  though  she  appeared  to 
advantage  in  many  tragic  assumptions,  her  superior  excellence 
lay  in  the  elegant  and  refined  creations  of  the  comic  muse. 
Beatrice,   Rosalind,    Lady   Teazle,  Violante,  Juliana,  Widow 

70 


Cheerly,  Lady  Gay  Spanker,  and,  above  all,  Constance  in 
"The  Love  Chase,"  of  which  she  was  the  original  American 
representative,  were  among  her  most  delightful  personations, 
and  in  which  she  won  her  greenest  and  most  enduring  laurels. 
Yet  there  was  a  line  of  tragedy  in  which  she  appeared  to 
eminent  advantage,  her  fine  person  lending  her  an  aid  too 
often  denied  to  female  representatives  of  such  youthful 
heroes.  This  line  included  Hamlet,  Romeo,  Young  Norval 
and  Ion,  in  which  she  far  surpassed  to  our  taste  all  ladies  who 
have  dared  attempt  them,  Miss  Tree,  in  Ion,  alone  excepted. 
In  1839,  she  joined  the  company  at  the  Bowery  Theatre, 
making  her  debut  at  that  house,  May  13,  1839,  as  Alice  Darvil 
in  "Ernest  Maltravers,"  and  becoming  the  star  and  the 
heroine  of  all  the  tinseled  and  glaring  melodramas  so  delight- 
ful to  theatre  goers  on  the  eastern  section  of  New  York  City. 
By  this  move,  Mrs.  Shaw  probably  increased  her  pecuniary 
emoluments,  but  she  lost  the  well  earned  repute  gained  in  the 
first  theatre  of  the  country,  and  the  prestige  of  her  name 
within  its  walls  was  gone  forever,  as  she  found  to  her  sorrow 
when,  in  after  years,  she  once  more  attempted  to  tread  its 
boards  in  the  proud  position  of  its  controlling  spirit,  as  the 
wife  of  its  last  manager.  She  was  always  announced  as  Mrs. 
Shaw  until  May  13,  1850,  when  her  name  appeared  on  the 
bills  as  Mrs.  Hamblin,  when  she  acted  in  "Love."  Her 
popularity  at  the  Bowery  Theatre  was  for  many  years  un- 
bounded, but  finally  fell  off,  and  her  matronly  appearance  and 
increasing  embonpoint  limited  her  successful  representations 
to  a  very  narrow  range.  Her  first  appearance  in  Boston,  was 
as  Julia  in  "The  Hunchback,"  on  the  28th  of  Jany.,  1838. 
Her  engagement  was  quite  brief,  during  which,  however,  she 
played  Hamlet — this  was  at  the  Tremont  Theatre.  She 
clung  long  to  her  profession,  although  it  was  understood  that 
the  death  of  her  husband  left  her  in  possession  of  a  handsome 
competence.  In  the  art  of  dressing  and  making  up  she  was 
remarkably  happy,  and  her  ideas  of  stage  management  were 
excellent.  She  lived  in  retirement  for  several  years  in  New 
York  prior  to  her  death,  which  occurred  July  4,  1873,  at  her 
residence,  146  West  Twenty-Fourth  Street.  The  funeral 
occurred  July  7. 

198.     MISSOURI  (Miss.)     Portrait,  in  the  Character  of 
Alice  Darvil. 
Lithograph  Colored.     Framed. 

Miss  Louisa  Missouri  made  her  first  appearance  at  the 
Bowery  Theatre,  New  York,  on  the  16th  of  April,  1838,  as 
Alice  Darvil  in  "Ernest  Maltravers."  She  afterward  ap- 
peared as  Julia  and  Bianca,  with  a  promise  of  future  excellence 
that   remained  unfulfilled,  in  consequence  of  her  untimely 

71 


death.  Josephine  CUfton  and  Louisa  Missouri  were  the 
daughters  of  the  same  mother,  and,  as  the  former  once  touch- 
ingly  remarked,  "children  of  misfortune  from  their  very 
birth."  Their  mother  was  the  notorious  Mrs.  Miller.  Miss 
Clifton  was  fully  aware  of  the  disadvantages  of  a  debut  at  the 
Bowery  Theatre,  or  under  the  auspices  of  its  manager;  but 
in  an  evil  hour,  Miss  Missouri,  whose  talents  had  been  culti- 
vated under  the  most  eminent  masters,  in  opposition  to  her 
advice,  and  that  of  her  mother,  placed  herself  under  the  care 
of  Mr.  Hamblin  for  dramatic  instruction,  took  up  her  resi- 
dence in  his  family,  and  made  her  entree  into  the  profession 
as  his  especial  protegee.  A  newspaper  controversy  was  the 
result,  Miss  Clifton  being  charged  with  attempting  from 
jealousy,  to  prevent  her  sister's  appearance,  and  replying, 
with  becoming  spirit,  that  her  only  desire  was  that  she 
should  not  be  introduced  to  the  public  through  the  medium  of 
Mr.  Hamblin.  Finally,  after  Miss  Missouri  had  played,  in 
addition  to  Alice  Darvil,  the  characters  of  Julia  and  Bianca, 
and  gone  through  with  an  engagement  of  ten  nights  at 
Boston,  she  was  seized,  on  her  return  to  New  York,  with  a 
brain  fever  (the  result,  no  doubt,  of  excitement  and  over- 
exertion), which,  after  a  brief  illness  caused  her  death,  on  the 
26th  of  May,  1838,  at  the  age  of  seventeen.  A  certain  press 
endeavored  to  arouse  a  spirit  of  indignation  against  Mr.  Ham- 
blin, who  was  charged  with  abducting  a  young  and  inexperi- 
enced girl  from  her  friends,  and  suspicions  of  foul  play  were 
also  insinuated  against  his  housekeeper,  all  of  which  were 
happily  put  to  rest  by  the  testimony  of  several  eminent 
physicians,  who,  after  a  thorough  post  mortem  examination, 
declared  that  her  death  had  occurred  from  purely  natural 
causes,  and  not  the  shghtest  ground  existed  for  any  imputa- 
tion, that  could  sully  the  character  of  the  unfortunate  de- 
ceased. She  made  her  first  appearance  in  Boston,  at  the 
Tremont  Theatre,  May  9,  1838,  as  Ahce  Darvil  in  "Ernest 
Maltravers." 

199.  AUGUSTA  [Mile.]     Engraved  Portrait,  in  the  char- 

acter of  "La  Sylphide." 
Folio. 

200.  AUGUSTA    [Mile.]     Portrait,    in    the    role    of    The 

Bayadere.     Henri    Heideman.     N.    Currier's    Lith. 
Facsimile  autograph. 
Lithograph. 

201.  AUGUSTA    [Mile.]     Portrait,    in    the    role    of    The 

Bayadere.     Drawn    on    stone    by    Hoffy    from    the 
72 


original  sketch  taken  from  life  by  Heideman.     J.  T. 
Bowen's  Lith.,  N.  Y.     Piibd.  by  C.  Shepard,  N.  Y. 
Facsimile  autograph. 
Lithograph. 

Mile.  Augusta  was  born  in  Paris,  and  came  unknown  and 
unheralded  to  this  country,  but  on  making  her  debut  in  a 
scene  from  the  ballet  "Les  Naiades,"  at  the  Park  Theatre, 
New  York,  Sept.  16,  1836,  her  pas  seul  was  received  with 
demonstrations  of  the  utmost  delight,  and  she  soon  reached 
the  highest  goal  of  popular  favor.  A  tenderness  in  her  full 
dark  eyes,  and  an  expression  of  humility  and  maidenly  re- 
serve in  her  manners,  heightened  the  effect  of  a  lovely  face 
and  a  slender,  sylph-like  form,  and  there  was  a  peculiar  re- 
finement, a  fascinating  gracefulness,  and  an  appearance  of 
modest  innocence  in  her  every  motion,  that  at  once  won  every 
heart.  After  a  season  at  the  Park,  she  "starred"  throughout 
the  Union  with  great  success,  appearing  in  Boston,  on  the 
29th  of  Jan.,  1838,  for  the  first  time,  at  the  Tremont 
Theatre,  in  the  operatic  ballet  "La  Bayadere,"  which  was  put 
on  the  stage  in  the  most  admirable  style.  She  was  married 
to  the  Count  Fitzjames,  who  was  said  to  be  a  descendant  of 
the  royal  family  of  Stuart.  After  several  years  retirement, 
she  played  her  last  engagement  at  Burton's  Chambers  Street 
Theatre,  New  York,  in  1851,  and  shortly  after  the  death  of 
her  husband,  again  came  before  the  public  at  a  complimentary 
benefit,  given  her  at  the  Metropolitan  Theatre,  New  York, 
May  10,  1855,  being  her  last  appearance  on  the  stage,  after- 
wards becoming  a  teacher  of  her  art  in  New  York  City. 

202.  SEGUIN     (EDWARD.)     Portrait.     J.     W.     Bufford's 

Lith.  from  a  Daguerreotype  by  Southworth  &  Hawes. 
Facsimile  autograph. 
Lithograph. 

203.  [SEGUIN  (EDWARD.)]     Portrait,  as  Devilshoof  in 

"Bohemian  Girl."     Endicott  Lith. 
Lithograph. 

Arthur  Edward  Shelden  Seguin,  commonly  known  as  Edward, 
was  born  in  London,  April  7,  1809,  and  first  appeared  in 
public  in  1828  at  concerts  given  by  the  pupils  of  the  Royal 
Academy  of  Music.  His  voice  was  a  deep  bass,  of  very  ex- 
tensive compass,  and  he  met  with  a  very  favorable  reception. 
In  1831,  he  first  appeared  upon  the  English  stage  at  the  theatre 
in  Tottenham  Street  as  Polyphemus  in  "Acis  and  Galatea." 
In  1833  and  1834,  he  was  at  Covent  Garden  Theatre.     From 

73 


1835  to  1837  he  was  engaged  at  Drury  Lane.  In  August, 
1838,  he  appeared  at  the  English  Opera  House,  in  "The 
Devil's  Opera,"  and  soon  afterwards  came  to  America,  making 
his  first  appearance  at  the  National  Theatre,  New  York,  as 
The  Count  in  "Amilie,"  and  was  extremely  well  received. 
He  made  his  first  appearance  in  Boston,  in  November,  1838, 
at  the  Tremont  Theatre.  When  he  first  appeared  here  in 
"Amilie,  or  The  Love  Test,"  he  produced  a  marked  sensa- 
tion. A  critic  upon  that  opera,  as  then  presented  at  the 
Tremont  Theatre  for  the  first  time,  says  of  him:  "The  moment 
Seguin  opened  his  mouth  one  universal  gasp  of  astonishment 
infected  all,  such  was  the  wonder  produced  by  his  magnificent 
organ.  At  the  first  close  of  his  recitative,  the  most  enthusi- 
astic applause  appreciated  that  pure,  legitimate,  and  ponder- 
ous bass;  of  large  and  even  quality,  his  distinct  enunciation, 
and  such  a  body  of  tone,  that  Lablache  alone  will  be  placed 
above  him."  The  Seguins  were  very  successful,  and  occupied 
a  large  share  of  public  attention,  even  from  the  date  of  their 
first  appearance  in  this  city,  Nov.  5,  1838,  to  May,  1847, 
when  Marti's  Operatic  Company  eclipsed  in  their  admirable 
presentation  of  Italian  opera,  all  the  glories  of  former  dra- 
matic vocalists,  and  consigned  English  opera  to  neglect. 
After  a  most  prosperous  starring  career  of  several  years,  he 
took  up  his  residence  in  New  York,  and  finding  his  strength 
failing,  he  was  obliged  to  desist  from  singing,  and  joined  the 
stock  company  at  Wallack's  Theatre,  where  he  first  appeared 
on  the  9th  of  September,  1852,  as  Humphrey  Dobbin  in  "The 
Poor  Gentleman."  His  health,  however,  declining  rapidly, 
he  played  for  the  last  time  on  the  11th  of  November,  as 
Hyssop  in  "The  Rent  Day,"  and  on  the  13th  of  December, 
1852,  he  expired  at  his  residence,  in  White  Street,  of  a  hasty 
consumption,  deeply  regretted  by  the  public  and  a  large 
circle  of  personal  friends. 


204.  SEGUIN  (ANNE.)   Portrait.   Bust.    Vignette.    With 

autograph  of  the  Lady. 
Water  Color  Drawing. 

205.  SEGUIN     (Mrs.)     Portrait,    "A    Simple    Rose." 

Fleetwood. 
Lithograph.     Music  Sheet. 

206.  SEGUIN    (Mrs.)     Portrait,    "The    Gypsey   Queen." 
Lithograph.     Music  Sheet. 

74 


207.  SEGUIN  (Mrs.)     Portrait,  "Then  You'll  Remember 

Me."     E.   Brown  Jr.,   1844.     Lewis  &  Brown,  Lith. 

Lithograph.     Music  Sheet. 

Anne  Childe  (Mrs.  Seguin)  was  a  pupil  of  the  Royal  Academy 
of  Music,  and  appeared  in  public  as  a  soprano  singer  in  1828 
in  the  same  performances  as  her  future  husband,  and  with 
equal  success.  In  1832,  she  sang  at  the  concert  of  Ancient 
Music,  and  in  1834  at  the  Westminster  Abbey  Festival. 
After  performing  for  two  or  three  seasons  at  the  King's 
Theatre  as  seconda  donna,  she  appeared  on  the  English  stage 
at  Drury  Lane  Theatre,  Nov.  3,  1837,  as  Donna  Anna,  in  the 
English  version  of  Mozart's  "Don  Giovanni."  She  accom- 
panied her  husband  to  America,  and  performed  in  opera 
until  his  death,  when  she  retired  from  the  stage,  and  taught 
music  in  New  York.  She  made  her  dehut  in  New  York,  at 
the  National  Theatre,  as  Rosina  in  "The  Barber  of  Seville." 
She  at  once  became  a  favorite,  gaining  in  one  night  a  popu- 
larity which  she  retained  as  long  as  she  was  on  the  stage. 
She  made  her  first  appearance  in  Boston,  at  the  Tremont 
Theatre,  in  1838.  She  was  at  the  Park  Theatre,  New  York, 
on  March  29,  1841,  as  Camilla  in  the  opera  of  "Zampa,"  and 
three  years  later,  on  Nov.  25,  made  her  greatest  American  hit 
at  the  same  theatre  as  Arline,  in  the  first  production  in  this 
country  of  "The  Bohemian  Girl."  The  opera  proved  a 
grand  success,  and  Mrs.  Seguin's  Arline  a  character  in  which 
the  public  never  tired  of  her,  for  she  sang  it  over  a  thousand 
times  before  she  retired  from  the  stage  on  the  death  of  her 
husband  in  1852.  After  her  retirement  she  settled  down  in 
New  York,  where  she  taught  music  for  the  remainder  of  her 
life.     She  died  in  New  York,  Aug.  24,  1888. 

208.  SHIRREFF  (Miss.)     Engraved  Portrait.     Engd.  by 

J.  Thomson  from  a  drawing  by  A.  Wivell. 
Hand  Colored. 

209.  SHIRREFF  (Miss.)    Portrait,  as  Amilie.    Pendleton's 

Lithogs.,  Boston. 
Lithograph.     Oblong. 

Jane  Shirreff,  soprano  singer,  was  born  in  London,  England, 
appeared  at  Covent  Garden  Theatre,  Dec.  1,  1831,  as  Man- 
dane  in  "Artaxerxes,"  with  great  success,  and  remained  at 
that  house  until  the  season  of  1834-35.  In  1835,  she  com- 
menced an  engagement  at  Drury  Lane,  but  in  1837  returned 
to  Covent  Garden.  In  1838,  she  came  with  the  "Seguins," 
and  made  her  first  appearance  in  Nevv^  York,  at  the  National 
Theatre,  as  Amilie  in  "The  Love  Test,"  Oct.  13,  1838,  and 

75 


met  with  great  success.  She  first  appeared  in  Boston  at  the 
Tremont  Theatre,  in  1838.  Made  her  last  appearance  in 
America,  at  the  Park  Theatre,  New  York,  as  Madeline  in 
"The  Postillion  of  Longjumeau,"  May  21,  1840,  and  mar- 
ried shortly  after,  Mr.  Wallcot. 

210.     DAVENPORT  (Miss.)     Portraits,  as  Richard  III  and 
Little   Pickle   in   The   Spoiled   Child.     E.  W.  E. 
Pubd.  by  H.  R.  Robinson,  1838. 
Lithograph  colored.     Framed. 

Jean  Margaret  Davenport  made  her  first  appearance  on  the 
American  stage,  on  the  21st  of  May,  1838,  at  the  National 
Theatre,  New  York,  as  Richard  III,  and  Little  Pickle;  and 
her  first  appearance  at  the  Park  Theatre,  New  York,  as 
Young  Nerval,  and  played  several  characters  in  the  farce  of 
"The  Manager's  Daughter."  She  subsequently  appeared  as 
Shylock,  Little  Pickle,  Dicky  Gossip,  Sir  Peter  Teazle,  Sir 
Giles  Overreach,  etc.  On  the  1st  of  October,  1838,  she  made 
her  first  appearance  in  Boston,  at  the  National  Theatre,  as 
Richard  III,  and  in  "The  Manager's  Daughter."  Miss 
Davenport  was  at  that  time  stated  to  be  "only  eleven  years 
of  age,"  and  was  regarded,  and  justly  too,  as  an  infant  phe- 
nomenon. By  many  she  was  deemed  fully  equal  to  Master 
Betty,  in  the  best  days  of  that  prodigy,  and  far  surpassed 
Burke.  Her  conception  of  Richard,  Shylock,  and  other 
characters,  was  certainly  astonishing,  while  her  delivery  was 
not  the  mere  repetition  of  a  parrot,  but  was  sensible,  and 
evinced  the  talent  of  an  artist.  Her  success  was  fair;  and 
her  father  leased  the  Lion  Theatre,  in  this  city,  and  for  a  few 
nights  she  played  there.  She  was  then  about  thirteen  years 
old.  She  displayed  great  ability  for  one  so  young,  and  on 
reaching  womanhood,  developed  talents,  which  gave  her  a 
high  position  as  a  star.  After  an  absence  of  ten  years  she 
reappeared  in  New  York,  in  September,  1849,  at  the  Astor 
Opera  House,  with  great  success,  as  Juliet.  On  the  13th 
of  October,  1860,  Miss  Davenport  was  married,  at  San  Fran- 
cisco, to  Col.  Frederick  W.  Lander,  and  left  the  stage.  Her 
husband  was  an  officer  in  the  Union  army  during  the  great 
Rebellion,  and  after  being  promoted  to  the  rank  of  General, 
died  in  Virginia,  March,  1862,  from  wounds  received  in 
battle.  Mrs.  Lander  soon  after  devoted  her  time  and  serv- 
ices to  the  cause  of  the  suffering  soldiers  in  the  hospital  at 
Port  Royal,  S.  C.  In  February,  1865,  she  emerged  from  her 
retirement  and  appeared  with  great  approbation  at  Niblo's 
Garden,  N.  Y.,  being  then  described  as  one  embodying  the 
full  majesty  of  intellect,  with  a  most  refined  and  graceful 
culture.  Her  performances  of  Queen  Elizabeth,  Adrienne 
Le  Couvreur,  Mary  Stuart,  and  other  tragic   roles  will  be 

76 


remembered  with  delight  by  those  who  witnessed  them.  She 
was  one  of  the  most  notable  Juliets  known  to  the  American 
stage,  between  1842  and  1850.  She  was  the  original 
"Camilla,"  in  this  country.  To  the  sculptor  her  Medea  was  a 
model.  For  classic  beauty  her  Adrienne  was  a  study,  and  for 
a  certain  degree  of  truthfulness  and  nature  her  Peg  Woffington 
may  be  quoted.     She  died  at  Lynn,  Mass.,  Aug.  2,  1903. 

211.  MARBLE  (DAN.)     Portrait.     Bust.     E.  C.  L. 
India  Ink  Drawing. 

212.  MARBLE  (D.  Mr.)     Portrait,  as  Jacob  Jewsharp  in 

"Yankee  Time."     W.  D.  Jenks  del. 

Lithograph. 

Made  his  first  acknowledged  appearance  on  the  stage  in  New 
York,  as  Robin  Roughead,  on  the  11th  of  April,  1830,  at  the 
Chatham  Theatre,  paying  for  the  privilege  the  sum  of  twenty 
dollars.  Some  few  years  later  he  gained  repute  in  the  country 
theatres  with  Yankee  stories  and  a  few  Yankee  parts.  In 
November,  1836,  he  married  Annie  Warren,  daughter  of  the 
celebrated  comedian  of  Philadelphia,  and  not  long  after  made 
his  great  hit  at  Buffalo,  as  the  hero  of  a  piece  called  "Sam 
Patch."  He  was  enthusiastically  received  in  the  various 
cities  of  the  South  and  West  through  which  he  toured  with 
the  play.  In  1838,  he  made  his  first  appearance  on  the  boards 
of  the  Park  Theatre,  New  York,  as  Solomon  Swop.  In  1841, 
he  was  at  the  Surrey  Theatre  where  he  made  his  first  appear- 
ance in  London,  on  the  14th  of  April,  as  Sampson  Hardhead 
in  "The  Game  Cock  of  the  Wilderness,"  with  entire  success, 
and  again  appeared  in  London  in  1844.  His  return  to  Amer- 
ica was  a  complete  triumph  particularly  in  the  West,  where  in 
the  height  of  his  popularity,  he  played  his  last  engagement 
in  St.  Louis,  early  in  May,  1849.  Going  thence  to  Louisville, 
he  was  seized  with  cholera,  which  terminated  his  existence, 
in  that  city,  on  the  13th  of  May.  He  was  buried  at  Buffalo, 
N.  Y.  He  made  his  first  appearance  in  Boston  at  the 
National,  Sept.  4,  1839,  as  Jonathan  Ploughboy  in  "The  Forest 
Rose,"  and  Sam  Patch  in  "Sam  Patch,  or  The  Daring  Yankee." 

213.  FITZWILLIAM     (FRANCES.)     Engraved     Portrait. 

J.  W.  Childe.     H.  B.  Hall.     Facsimile  autograph. 

214.  COPELAND    (F.  E.,    Miss.)   of   the    Surrey   Theatre. 

Engraved  Portrait.     Alais  sc.  from  an  original  Paint- 
ing by  Rose  Emma  Drummond.     Pubd.  for  La  Belle 
Assemblee,  1820. 
Colored  by  hand. 

77 


215.    FITZWILLIAM  (Mrs.)    Portrait,  as  Don  Giovanni. 

Pubd.  by  Dyer  Senr.,  1828. 
Etching.     Hand  Colored. 


216.     FITZWILLIAM    (Mrs.)     Portrait,    as    Milly   in   the 
"Maid    with    the    Milking    Pail."     J.    Brundard. 
Lithograph.     Proof  on  India  Paper. 


217.     FITZWILLIAM  (Mrs.)     Engraved  Portrait,  as  Poll 
the   Pet  in  The   Pet   of  the   Petticoats.     Lond. 
J.  Fairburn. 
Hand  colored. 

Fanny  Copeland,  afterwards  Mrs.   Fitzwilliam,  was  placed 
on  the  stage  of  a  theatre  almost  as  soon  as  ushered  to  the 
stage  of  life,  and  commenced  her  histrionic  labors  when  two 
years  old,  as  one  of  the  children  in  the  play  of  the  "Stranger." 
She  was  born  in   1802,  in  a  house  attached  to  the  Dover 
Theatre,  England,  of  which  her  father  was  manager.     At  the 
age  of  five,  she  played  Tom  Thumb,  and  sung  all  the  inci- 
dental music  with  wonderful  accuracy.     When  ten  years  old, 
she  was  withdrawn  from  the  stage,  and  devoted  her  time 
principally  to  the  study  of  music,  under  able  masters.     The 
accidental  illness  of  an  actress  who  was  advertised  for  Norah 
in  "The  Poor  Soldier,"  caused  her  unexpected  reappearance 
at  The  Dover  Theatre,  where  her  musical  proficiency  and 
general  merit  were  so  clearly  recognized  and  warmly  ap- 
plauded, that  she  continued  performing  and  singing  to  the 
great  delight  of  the  audience,  until  1816,  when  she  went  to 
London  for  vocal  instruction  from  Mrs.  Bland,  and  was  im- 
mediately engaged  for  the  Haymarket  Theatre,  where  she 
made    her    debut    on    July    2,     1816.     Thence    she    passed 
through  the  Surrey  and  Olympic  Theatres,  on  her  way  to 
Drury  Lane,  where  she  first  appeared  on  the  5th  November, 
1821,  as  Fanny  in  "Maid  or  Wife,"  and  on  the  2nd  of  Novem- 
ber, 1822,  fulfilled  an  engagement  with  Mr.  Fitzwilliam,  by 
becoming    his    wife.     She    was    afterward    at    the    Adelphi 
Theatre,  and  in  1832,  was  a  partner  of  W.  H.  Williams  in  the 
management    of    Sadler's    Wells   Theatre,    which   she    relin- 
quished for  an  engagement  at  the  Haymarket  Theatre,  whence 
she  came  to  America,  in  the  full  maturity  of  her  powers  and 
the  very  zenith  of  her  fame,  making  her  first  appearance  at  the 
Park  Theatre,  New  York,  in  the  old  comedy  of  "The  Country 
Girl."    She    played    Peggy,    and    appeared    in    Buckstone's 
monopolylogue,  written  expressly  for  her,  entitled  the  "Widow 

78 


Wiggins."  The  latter  was  cleverly  constructed,  and  its 
intended  effects  were  very  happily  rendered  by  Mrs.  Fitz- 
william,  whose  changes  of  character  were  so  marvelously 
rapid  and  dissimilar,  as  almost  to  surpass  belief  and  to  draw 
down  peal  after  peal  of  most  enthusiastic  applause.  She 
was  one  of  the  very  few  females  who  arrive  at  the  age  of  forty 
capable  of  personating  a  miss  in  her  teens,  without  evincing 
a  palpable  inconsistency.  Her  musical  accomplishments 
were  not  the  least  of  her  attractions,  and  so  greatly  were 
they  admired  in  America,  that  she  was  frequently  called 
upon  to  throw  aside  her  most  natural  and  exhilarating  as- 
sumptions in  comedy,  and  take  upon  herself  the  rank  and 
emoluments  of  an  operatic  prima  donna,  which  suggestions 
she  was  wise  enough  to  decline,  although,  as  a  vocalist,  she 
was  superior  to  many  who  had  occupied  a  similar  position, 
and  as  a  singing  actress,  the  very  best  that  Europe  has  ever 
sent  us.  She  made  her  first  appearance  in  Boston,  at  the 
Tremont  Theatre,  Dec.  16,  1839,  in  "Widow  Wiggins,"  in 
which  she  sustained  six  characters.  Her  appearance  on  the 
boards  in  this  city,  at  a  time  when  there  was  a  depression  in 
business,  was  deemed  a  public  benefit,  for  her  faultless  acting 
chased  away  the  clouds  of  despondency  and  smoothed  the 
furrows  of  care,  and  won  the  suffrages  of  all  theatre-goers. 
She  played  Rosalind  to  W.  H.  Smith's  Orlando,  and  Freder- 
ick's Jacques,  for  her  benefit,  and  was  honored  by  a  full 
house.  She  made  two  visits  to  America,  both  of  which  were 
eminently  successful.  Her  last  appearance  in  New  York 
took  place  at  Niblo's,  on  the  22nd  of  August,  1842,  but  as 
late  as  1852,  she  was  one  of  the  chief  attractions  of  the 
London  Haymarket  Theatre.  Her  death  occurred  on  11th 
September,  1854,  from  general  prostration,  induced  by  a 
severe  attack  of  cholera. 


218.     ELLSLER    (FANNY.)     Portrait.     Bust.      Medallion. 
A.    Henning,    Lith.     C.    Wildt.     L.    Sachse    &    Co., 


Berlin. 
Lithograph. 


219.     ELLSLER     (FANNY.)      Portrait.     Kriehuber,     1830. 
Lith.  Just,  in  Wien. 
Lithograph. 


220.     ELLSLER  (FANNY.)     Portrait.     Jentzen,  1831. 
Lithograph. 

79 


221.  ELLSLER  (FANNY.)     Portrait,  in  "Ballet  du  Diable 

BoiTEUX,"   3rd.    Acte.      A.    Deveria,   del   d'apres   la 
Statuette   d'A.    Barre.     Lith.    de   C.  Motte.     Public     4 
par  Cattier. 
Lithograph  in  colors. 

222.  ELLSLER  (FANNY.)     Portrait,  in  the  Character  of 

La  Cracovienne.     E.  Brown  Jr. 
Lithograph  Colored. 

223.  ELLSLER  (FANNY  Madlle.)  and  (SYLVANI  Monsr.) 

Portraits,  in  "Pas  Styrien."     M.  S.  W.  Sinclair's 
Lith.,  Phila. 
Lithograph.     Music  Sheet. 

Fanny  Ellsler  was  born  in  Vienna,  June  23,  1810,  and 
made  her  debut  when  six  years  of  age.  She  made  her  first 
appearance  in  America,  at  the  Park  Theatre,  New  York, 
May  14,  1840,  in  the  pas  seul  "Cracovienne,"  and  first 
performance  of  "La  Tarentule"  ballet.  Excited  by  the  high 
reputation  which  had  preceded  her,  nothing  could  exceed  the 
enthusiasm  created  by  the  fair  dancer's  execution  of  the 
dainty  "Pas  Cracovienne,"  unless  it  was  the  positive  rapture 
produced  by  the  more  elaborate  and  bewildering  dances  of 
"La  Tarentule."  The  perfection  of  grace  attended  every 
attitude;  the  airiness  of  gossamer  every  step.  All  that  can 
be  imagined  of  lightness  undefinable  and  of  movements 
seemingly  effortless  were  displayed  in  her  various  perform- 
ances, and  in  these  important  requisites  she  has  eclipsed  every 
dancer  known  to  the  American  stage.  In  person  she  was 
tall,  but  of  exquisite  womanly  proportions,  and  her  German 
cast  of  features  was  set  off  by  a  complexion  of  delicate  white- 
ness, contrasting  charmingly  with  the  rich  glossiness  of  her 
classically-braided  chestnut  hair.  She  was  fascinating  be- 
yond description,  and  her  career  throughout  the  Union  was 
one  of  unabated  triumph  to  herself,  but  of  disappointment 
and  disaster  to  almost  every  manager  with  whom  she  came 
in  contact.  Her  terms  were  never  specifically  less  than  $500 
per  night  and  a  clear  benefit,  or  half  the  gross  receipts  each 
night  and  a  clear  benefit.  She  made  her  first  appearance  in 
Boston,  on  the  evening  of  September  7,  1840,  at  the 
Tremont  Theatre.  The  announcement  of  her  advent  was 
hailed  with  joy,  and  our  usually  staid  citizens  indulged  in 
various  bursts  of  enthusiasm,  and  many  actually  walked 
before  the  Tremont  House  for  hours,  in  hopes  that  the 
divinity  would  show  herself  at  the  window.  Twenty-one 
boxes  were  sold  on  the  Saturday  previous,  and  on  the  morn- 

80 


ing  of  Monday,  the  remainder  were  sold  at  auction.  The 
first  week  of  her  appearance  was  a  notable  one,  aside  from  her 
great  attraction,  assisted  as  she  was  by  Mons.  Sylvani.  On 
the  10th  of  September,  the  great  Bunker  Hill  Convention  was 
holden,  and  a  fair  was  held  by  the  ladies  to  complete  the 
Bunker  Hill  Monument.  It  was  an  exciting  week,  but 
"Nathalie"  and  "La  Sylphide"  were  not  lost  amidst  these 
political  and  patriotic  scenes.  It  was  "Ellsler"  on  every  side. 
She  was  dreamed  of,  talked  of,  and  idolized;  and  some  wag 
having  circulated  a  report  that  "Fanny"  would  take  an  airing 
in  her  barouche,  quite  a  gathering  took  place  on  Tremont 
Street.  It  was  during  this  visit  that  Fanny  contributed  her 
share  of  a  benefit  to  completing  Bunker  Hill  Monument, 
which  amounted  to  §569.50.  Boston  was  somewhat  laughed 
at  for  accepting  this  gift  and  the  scribblers  had  their  jokes; 
but  after  all  it  was  Boston  money.  Her  last  appearance  of 
this  engagement  was  on  the  2nd  of  October,  to  a  crowded 
house,  she  was  called  out,  and  made  a  short  speech.  She 
took  her  farewell  benefit  at  the  Park  Theatre,  New  York, 
June  23,  1842.  She  afterwards  appeared  on  several  occasions, 
and  on  the  1st  of  July,  waved  her  last  adieux  to  the  American 
public.  She  returned  immediately  thereafter  to  her  native 
land  where  she  died,  Nov.  27,  1884. 

224.  BRAHAM  (Mr.)     Engraved  Portrait.     Engd.  by  A. 

Cardon,  from  a  Drawing  by  Jno.  G.  Wood. 

225.  BRAHAM    (Mr.)     Portrait,    as   Henry    Bertram   in 

Guy  Mannering.     Drawn,  Etch.  &  Pubd.  by  Richd. 
Dighton. 
Etching  Colored. 

226.  BRAHAM    (Mr.)     Portrait,    in    the   Character    of 

Orlando.     Drawn,    Etch'd.    &    Pubd.    by    Dighton. 
Etching  Colored. 

John  Braham  (John  Abraham)  was  born  in  London,  in  the 
year  1772,  of  Jewish  parents.  An  orphan  at  an  early  age,  his 
fine  voice  by  accident  attracted  the  notice  of  Leoni,  the 
celebrated  musician,  who,  in  1784,  took  him  under  his  pro- 
tection, and  after  giving  him  the  rudiments  of  a  thorough 
musical  education,  introduced  him  to  John  Palmer,  manager 
of  the  theatre  in  Wellclose  Square,  where  he  first  appeared 
as  Cupid  in  "The  Birthday."  In  1789,  his  voice  broke  en- 
tirely, and  he  withdrew  from  public  notice  and  became  a 
teacher  on  the  pianoforte  until  1794,  when  he  made  his 
appearance  in  concerts  at  Bath  with  such  continued  success, 

81 


and  under  the  instruction  of  Rauzzini,  that  in  the  spring  of 
1796,  he  was  engaged  for  Drury  Lane,  and  there  made  his 
first  appearance  as  Noureddin  in  the  opera  of  "Mahmoud," 
in  the  spring  of  1796.  Soon  after  becoming  enamoured  of 
the  fascinating  songstress,  Signora  Storace,  he  accompanied 
her  on  a  continental  tour  and  remained  abroad  until  1801, 
when  he  reappeared  at  Covent  Garden  Theatre,  London,  as 
AH  Bensalla  in  "Chains  of  the  Heart,"  with  Storace  as 
Zulema.  He  then  transferred  his  services  to  Drury  Lane 
Theatre,  where  his  attraction  was  so  powerful,  that  for  more 
than  a  quarter  of  a  century  his  emoluments,  with  what  he 
received  for  occasional  performances  elsewhere,  amounted  to 
an  average  of  £14,000  per  annum.  His  style  of  living  was 
that  of  princely  magnificence  and  consumed  a  large  portion 
of  his  income,  and  his  unfortunate  speculation  in  the  building 
and  management  of  the  St.  James  Theatre,  in  1835,  reduced 
his  finances  to  so  low  an  ebb  that  he  was  induced  to  try  his 
fortune  in  America.  He  came  and  made  his  first  theatrical 
appearance  at  the  Park  Theatre,  December  21,  1840,  in  the 
"Siege  of  Belgrade."  He  had  previously  given  a  series  of 
Concerts  at  Niblo's  Saloon,  which  had  been  crowded  with 
fashionable  and  critical  audiences,  but  on  his  transferring 
himself  to  the  stage  of  the  Park  Theatre,  his  name  was  found 
insufficient  to  fill  the  house,  and  his  engagement  was  neither 
satisfactory  to  himself  nor  profitable  to  the  management. 
On  Jan.  11,  1841,  he  made  his  first  appearance  in  a  Boston 
theatre  at  the  Tremont,  in  the  character  of  Henry  Bertram 
in  "Guy  Mannering,"  without,  however,  any  vocalist  to 
sustain  him,  the  only  show  of  opera  being  his  own  unaided 
efforts.  For  his  benefit  and  farewell  to  the  Boston  stage,  he 
played  and  sang  in  the  second  and  third  acts  of  "Masaniello" 
and  "The  Waterman."  Having  previously  appeared  here  in 
concerts  under  the  patronage  of  the  Handel  and  Haydn 
Society,  there  was  slight  curiosity  to  hear  the  veteran  English 
tenor  in  opera  travestie,  and  the  experiment  of  substituting 
one  singer,  however  brilliant,  for  an  opera  company  met  a 
cold  reception  from  the  public.  Mr.  Braham  was,  unfor- 
tunately for  his  stage  popularity,  no  actor,  but  on  the  con- 
trary marred  every  character  by  excessive  awkwardness.  He 
never  pretended  to  embody  the  graceful  lover  or  hero  for 
which  the  bills  announced  him.  Added  to  these  drawbacks, 
the  want  of  a  good  stage  presence  destroyed  all  the  illusions 
of  the  scene,  and  brought  the  audience  back  to  a  cold  reality 
of  John  Braham,  the  great  tenor,  singing  like  a  machine,  and 
giving  not  the  least  idea  of  Henry  Bertram,  Count  Belino,  or 
Tom  Tug.  A  few  performances  to  wretched  houses  closed 
this  unfortunate  exhibition,  and  Braham  returned  to  his 
appropriate  field  of  action,  the  concert  room,  where  he  con- 
tinued to  reap  a  golden  harvest,  and  by  his  expert  vocaliza- 
tion  soon   effaced   all    recollection   of  his   failure  in  opera. 

82 


England's  greatest  tenor,  as  already  stated,  was  introduced 
to  Boston  audiences  by  the  Handel  and  Haydn  Society. 
On  the  20th  and  22nd  of  Nov.,  1840,  Bostonians  were  afforded 
the  opportunity  of  listening  to  the  dulcet  notes  of  Europe's 
most  celebrated  songster,  and  the  vast  majority  of  the  audiences 
were  fully  satisfied  that  Braham's  reputation  had  a  solid 
foundation  in  the  great  feats  he  accomplished.  His  remark- 
able power,  compass,  and  quality  of  voice,  fairly  astonished, 
in  their  remarkable  union,  all  listeners.  They  could  not 
credit  the  existence  of  their  own  senses,  when  they  witnessed 
such  daring  and  brilliant  performance  of  the  greatest  diffi- 
culties, by  a  man  acknowledged  to  be  very  near  three-score 
and  ten.  His  wonderful  command  of  the  most  extensive 
tenor  repertoire,  and  the  thrilling  energy  and  delightful  verve 
and  expression,  that  gave  all  his  music  grace  and  color, 
created  a  positive  furore.  After  his  failure  at  the  Tremont, 
he  went  into  concert  on  his  own  account,  besides  singing 
for  the  Handel  and  Haydn  in  oratorios  and  selections  from 
sacred  music.  His  last  appearance  here  was  on  Feby.  20, 
1841.  On  his  return  to  England,  he  frequently  sung  at 
concerts  and  oratorios,  and  at  the  age  of  80  attracted  ad- 
miring throngs  at  Exeter  Hall,  London,  and  although  his 
voice  had  then  suffered  from  the  ravages  of  time,  enough 
remained  to  show  what  it  had  once  been.  John  Braham  was 
a  marvel,  and  those  who  missed  the  opportunity  to  hear  that 
greatest  musical  wonder  of  this  or  any  other  age,  must  have 
deeply  regretted  their  inadvertance.  He  retained  his  energy 
and  command  of  the  tenor  scale  longer  than  any  other  man 
has  ever  done.  He  died  in  the  month  of  February,  1856,  at 
the  age  of  84,  while  under  the  care  of  his  daughter.  Lady 
Waldegrave. 

227.     CRESWICK    (W.)     Engraved    Portrait,    as   Claude 
Melnotte.     Bust.      Vignette.     Drawn  by  A.  Wivell. 
Engd.   by  R.   Pratt.     Pubd.   by  Abraham  Wivell  8c 
Richard  Pratt,  1851. 
Proof.     India  Paper. 

William  Creswick  was  born  Dec.  27,  1813,  in  the  immediate 
vicinitjr  of  Covent  Garden,  and  educated  for  a  mercantile 
pursuit,  he  soon  evinced  a  decided  predilection  for  the  stage. 
In  the  summer  of  1831  he  accepted  an  engagement  at  a  small 
theatre  in  the  Commercial  Road,  London,  and  here  under 
the  name  of  Master  Collins  he  first  appeared.  Soon  after 
he  joined  a  company  in  Suffolk,  remaining  for  two  years,  and 
afterwards  rose  to  a  better  position  in  the  Kentish  Circuit. 
In  1834  he  was  playing  leading  business  in  the  York  Circuit, 
where  he  met  the  pretty  Miss  Paget,  of  the  Olympic  Theatre, 
destined  to  become  Mrs.  Creswick.     Returning  to  London 

83 


he  made  his  first  prominent  appearance,  at  the  Old  Queen's 
Theatre  in  Tottenham  Street,  Tottenham  Court  Road,  Feb. 
16,  1835,  as  Horace  Meredith  in  Jerrold's  comedy  of  "The 
Schoolfellows."  Going  back  to  the  York  Circuit,  he  em- 
bodied, with  marked  success,  the  leading  part  in  "Ion,"  then 
played  in  the  provinces  for  the  first  time.  In  April,  1839,  he 
was  at  the  Lyceum  Theatre,  London,  where  the  season  closed 
in  a  fortnight.  In  1839  he  and  his  wife  came  to  America,  his 
wife  making  her  debut  at  the  Park  Theatre,  New  York,  Aug. 
30,  1839,  as  Emily  Wilton  in  "Bachelor's  Buttons,"  and  her 
husband  made  his  first  appearance  on  the  31st  as  Claude 
Melnotte,  playing  for  a  season.  They  were  in  the  stock  com- 
pany of  the  Tremont  Theatre,  Boston,  the  season  of  1840-41, 
afterwards  playing  in  various  parts  of  the  Union  and  Canada, 
He  then  returned  to  England,  playing  tragic  parts  at  New- 
castle-on-Tyne,  Liverpool  and  Birmingham,  finally  in  July, 
1846,  he  joined  Saml.  Phelps  at  Sadler's  Wells.  In  1847, 
he  was  at  the  Princess's,  with  Fanny  Kemble  Butler,  and 
he  then  played  with  Macready.  This  was  followed  by  a 
three  years'  engagement  at  the  Haymarket,  where  he  opened 
as  Claude  to  the  Pauline  of  Helen  Faucit.  In  1849,  he  was 
co-partner  of  Mr.  vShepherd  of  the  Surrey,  opening  as  Alasco 
in  "The  Rose  of  Arragon,"  and  for  three  years  afterwards 
playing  a  round  of  Shakespearean  characters.  They  again 
renewed  partnership  in  1866  at  the  Surrey,  and  in  1871  Mr. 
Creswick  revisited  America,  when  he  acted  in  support  of 
Miss  Charlotte  Cushman.  Returning  to  England,  he  ap- 
peared with  Phelps,  at  Drury  Lane,  remaining  some  time. 
A  benefit  performance  was  tendered  to  him  at  the  Gaiety,  in 
May,  1877,  when  he  played  Macbeth,  and  shortly  after  sailed 
to  Australia,  where  he  was  enthusiastically  welcomed.  Re- 
turning from  his  triumphant  tour,  Mr.  Creswick  appeared 
at  the  Surrey,  in  his  favorite  character  of  Virginius,  and 
starred  at  the  Standard  and  other  theatres.  Oct.  29,  1885, 
a  complimentary  benefit  was  given  to  him,  at  Drury  Lane 
Theatre,  when  he  appeared  in  a  scene  from  "King  Lear," 
and  took  his  farewell  of  the  stage.  He  expired  Sunday 
morning,  June  17,  1888,  and  lies  buried  close  to  the  remains 
of  Macready,  in  Kensal  Green  Cemetery. 

228.  LITTLE  JULIA  [TURNBULL.]  Portrait  in  Character. 

Lith.  &  Pubd.  by  Currier  &  Ives. 
Lithograph. 

229.  TURNBULL  (JULIA.)     Portrait  in  Character. 
Water  Color  Drawing. 

Julia  Turnbull  was  born  in  New  York,  where  she  made  her 
debui  in  1826,  at  the  Lafayette  Theatre,  as  the  Duke  of  York; 

84 


on  the  26th  of  April,  1828,  she  made  her  first  appearance  at 
the  Chatham  Theatre,  New  York,  when  she  sung  the  popular 
song  of  the  "Dashing  White  Sergeant."  She  was  probably 
about  six  years  old.  She  afterward  became  widely  known  as 
a  danseuse  of  merit.  She  appeared  at  the  Tremont  Theatre, 
Boston,  in  the  season  of  1842-3.  She  announced  her  farewell 
benefit,  at  the  Bowery  Theatre,  New  York,  on  the  3rd  of 
September,  1848. 

230.  BROUGHAM    (JOHN.)     Portrait.     Facsimile    auto- 

graph.    Vincent  Brooks,  Lith. 
Lithograph. 

231.  BROUGHAM  (JOHN.)     Portrait. 
Lithograph. 

John  Brougham,  the  noted  actor,  playwright  and  manager, 
was  born  May  9,  1810,  in  Dublin,  Ireland,  where  he  was 
educated  for  the  medical  profession.  Having  acquired  a 
love  for  the  stage,  he  decided  to  try  his  luck  in  that  direction, 
and  obtained  an  engagement  at  the  Queen's  Theatre,  Totten- 
ham Court  Road,  London,  in  July,  1830,  in  "Tom  and  Jerry." 
This  being  his  first  appearance  upon  the  professional  stage, 
on  the  occasion  of  his  debut,  he  was  required  to  impersonate 
a  number  of  unimportant  characters.  He  labored  assidu- 
ously here  until  he  at  length  made  a  hit  as  O'Slash  in  "The 
Invincibles."  He  was  a  member  of  the  Madam  Vestris 
Company  at  the  Olympic  Theatre,  and  was  afterwards  en- 
gaged at  Covent  Garden  Theatre,  under  the  Vestris- Mathews 
regime,  in  the  season  of  1841-2.  In  the  summer  of  1842,  he 
and  his  wife  came  to  this  country,  and  made  their  debuts  at 
the  Park  Theatre,  New  York,  Oct.  4,  1842.  The  former  as 
O'Callaghan  in  "His  Last  Legs,"  and  the  latter  as  Lady 
Teazle.  His  wife  was  known  in  London  as  Miss  Emma 
Williams.  They  were  both  warmly  welcomed.  They  sub- 
sequently played  a  number  of  star  engagements  in  other 
cities,  and  returned  twice  to  the  Park  during  the  season.  On 
Dec.  29,  1842,  he  made  his  first  appearance  in  the  Bowery 
Theatre,  and  in  January,  1843,  he  made  his  first  appearance 
in  Boston,  in  "London  Assurance,"  at  the  old  Tremont 
Theatre.  In  the  summer  of  1844,  he  was  a  member  of  the 
company  at  Niblo's  Garden.  When  the  Boston  Theatre, 
Federal  Street,  was  re-opened  in  1846,  he  became  a  member 
of  the  stock  company,  playing,  on  the  opening  night,  Aug.  24, 
Tim  Moore  in  "The  Irish  Lion."  On  April  5,  1847,  with 
Humphrey  Bland,  Mr.  Brougham  made  his  first  venture  in 
management  in  this  country,  opening  the  Boston  Adelphi 
Theatre,  in  Court  Street.  Numerous  burlesques  were  pro- 
duced in  excellent  style,  and  the  theatre  became  a  favorite 

85 


resort  for  the  lovers  of  fun,  yet  it  did  not    prove   pecuniarily 
successful,    because    the    auditorium,    even    when    crowded, 
would  not  admit  of  sufficient  receipts  to  yield  much  profit. 
Brougham  was  the  life  of  the  place,  and  many  burlesques 
from  his  pen  were  produced  during  the  season.     The  best 
remembered  of  these  are  "Life  in  the  Clouds,"  "Metamora." 
"Tom  and  Jerry;  or  Life  in  Boston  "  drew  well,  owing  to 
its  local  hits.     When  Burton's  Theatre,  New  York,  opened, 
July  10,  1848,  Mr.  Brougham  was  the  stage  manager,  and  on 
the  24th  of  that  month  his  dramatization  of  "Dombey  & 
Son,"  was  first  produced,  the  author  acting  Major  Bagstock. 
Dec.  3,  1849.   "The  Serious  Family"  was  first  acted  in  Amer- 
ica, at  this  house,  and  it  was  played  one  hundred  and  twenty- 
three  times,  Burton  acting  Sleek  and  Brougham,  Capt.  Ma- 
guire.     On  Dec.  23,  1850,  Brougham's  Lyceum,  a  new  theatre 
on  Broadway,  just  below  Broome  Street,   New  York,   was 
formally  dedicated.     One  of  the  opening  pieces  was  an  ab- 
surdity by  Brougham,  called  "Brougham  &  Co.,"  in  which 
the  whole  company  were  introduced  to  the  audience.     Jan. 
6,  1851,  his  version  of  "David  Copperfield"  was  produced, 
in  which  he  played  Micawber.     The  season  closed  July  8. 
He    re-opened    the    Lyceum,    Aug.    25,    with    "Romance    & 
Reality."     The  season  ended  abruptly  March   17,  and  the 
theatre  passed  into  the  hands  of  J.  W.  Wallack.     In  1853-4 
several  plays  from  his  pen  were  produced.     The  season  of 
1855-56  opened  with  his  new  comedy  "The  Game  of  Love," 
and  on  Dec.  24,  his  celebrated  extravaganza  of  "Pocahontas" 
was  originally  acted.     June  30,  1856,  he  leased  the  Bowery 
Theatre,  opening  it  with  "Macbeth."     Nov.    13,    1856,    he 
played  in  New  York  and  Philadelphia,  the  same  night.     He 
acted  in  "The  Stage-struck  Irishman,"  at  the  Bowery,  com- 
mencing at  7  o'clock.     With  a  portion  of  his  company  he 
left  Jersey   City  at    7.52,   for   Philadelphia,   arriving  at    10 
o'clock  precisely,  arriving  at  the  National  Theatre,  Walnut 
Street,  at  10.30,  where  he  played  Powhatan  in  his  burlesque 
of  "Pocahontas,"  the  curtain  falling  at  12  o'clock.     He  re- 
tained the  management  until  June,  1857,  when  he  retired,  the 
venture  having  been  a  pecuniary  failure.     April  6,  1857,  he 
reappeared  at  Wallack's.     At  Burton's  New  Theatre  (after- 
wards the  Winter  Garden)  he  began  an  engagement,  Nov.  30, 

1857.  June  23,  1858,  he  was  at  Niblo's,  playing  Dazzle  in 
"London   Assurance."     He   returned   to    Wallack's    Oct.    5, 

1858,  remaining  till  the  close  of  the  season,  June  6,  1859. 
The  season  of  1859-60  he  was  again  at  Wallack's.  July  2, 
1860,  he  was  at  Niblo's,  playing  Powhatan  in  "Pocahontas," 
and  on  the  17th  made  his  last  appearance  prior  to  a  visit  to 
Europe.  In  the  fall  of  1860,  he  opened  at  the  Haymarket 
Theatre,  London,  and  was  heartily  welcomed.  Subse- 
quently he  joined  the  stock  company  at  the  Lyceum  under 
Fechter's    management,    and   when   "Arrah-Na-Pogue"    was 

86 


produced  at  the  Princess's  Theatre,  he  played  the  O'Grady. 
Returned  to  New  York  in  the  fall  of  1865,   and  reappeared, 
Oct.  30,  at  the  Winter  Garden,  as  Dr.  Savage  in  "Playing 
with  Fire."     Began  an  engagement  at  the  Walnut,  Philadel- 
phia,   Nov.    20,   and  closed    Dec.    23,   and    started   en   tour. 
In  the  summer  he  opened  at  the  Winter  Garden,  New  York, 
his  season  ending  Sept.  4.     The  season  1866-7  he  again  starred 
the  country.     He  was  to  have  opened  at  the  Winter  Garden, 
New  York,  April  8,  1867,  in  his  new  play  "The  Lottery  of 
Life,"  but  the  theatre  was  destroyed  by  fire,  March  23.     He 
commenced  the  season  of  1867-8,  at  the  Howard  Atheneum, 
Boston,  where  Sept.  23,  his  "Lottery  of  Life"  received  its  first 
representation  on  any  stage.     He  began  a  summer  season 
at  Wallack's,  June  8,   1868.     He  was  manager  of  the  little 
Fifth  Avenue  Theatre,  West  Twenty-fourth  Street,  New  York, 
which,   after  reconstruction,  was  opened  Jan.    25,    1869,  as 
Brougham's  Theatre,  with  a  new  comedy  by  him,  entitled 
"Better  Late  than  Never."     He  withdrew  from  the  manage- 
ment April  3  and  resumed  starring.     May  10  he  received  a 
complimentary  matinee  benefit  at  Niblo's,  the  receipts  being 
$3,467,   and  a   night  performance   at   the   French   Theatre, 
Fourteenth  Street,  New  York,  when  there  was  not  a  vacant 
seat  in  the  house.     Both  performances  netted  §6,570.     He 
shortly  afterwards  went  to  San  Francisco,  Cal.,  opening  at 
the  California  Theatre,  July  5,  in  "A  Gentleman  from  Ire- 
land,"  and   "David   Copperfield."     He   continued  starring, 
season  of  1869-70,  and  in  June,  1870,  began  an  engagement 
at  Wallack's,  and  was  a  member  of  the  stock  company  the 
season  following.     Aug.  26,   1872,  he  was  a  member  of  the 
Daly   company   at   the   Grand   Opera   House,  Twenty-third 
Street,  New  York,  opening  in  the  title  role  of  "King  Carrott." 
Jan.   17,   1874,  he  was  at  Wallack's,  but  his   performances, 
several  times  during  the  season,  were  interrupted  by  illness. 
In  1875  he  joined  Daly's  Fifth  Avenue  company.     In   Sept., 
1877,  he  started  on  a  tour  of  the  country,  but  through  illness, 
he  was  obliged  to  close  his  season  and  return  to  New  York. 
A  benefit  was  given  for  him  in  the  Academy  of  Music,  after- 
noon   and    evening,   Jan.    17,   1878,   netting    $9,394.41,  and 
another  matinee  benefit  at  Wallack's,  Feb.  14,  1878,  netted 
$884.15.     Season  of  1878-9  he  was  again  at  Wallack's,  and 
at  Booth's  Theatre,  with  Dion  Boucicault,  Sept.  4,  1879.    He 
made  his  last  appearance  on  the  stage  during  this  engage- 
ment, acting  Coitier  in  "Louis  XI."     He  was  twice  married, 
his  second  wife  was  Mrs.  Copleson-Hodges.     He  died  June 
7,  1880,  in  New  York,  and  was  buried  in  Greenwood  Cemetery 

232.     [BUCKSTONE    (J.    B.)]     Portrait.     Bust,  oval.     E. 
Matthews  &  Son,  Litho. 
Lithograph. 

87 


233.  BUCKSTONE  (J.  B.,  Mr.)     Portrait,  as  Bob  Acres. 

Alfred  Bryan.     Maclure  &  Macdonald  Lithe. 
Lithograph. 

234.  BUCKSTONE  (Mr.)     Portrait,  as  Jemmy  Wheedle, 

in  the  Farce  of  Weak  Points.     On  stone  by  J.  W. 
Gear.     Printed    by    C.    HuUmandel.     Pubd.    by    T. 
McLean. 
Lithograph. 

John  Baldwin  Buckstone,  born  at  Hoxton,  near  London, 
England,  in  September,  1802.  Made  his  debut  at  Oakingham, 
England,  in  1821,  where  he  played  juvenile  tragedy  and 
walking  gentlemen,  until  in  an  emergency,  he  was  cast  for 
Gabriel  in  the  "Children  of  the  Wood,"  in  which  he  was  so 
effective  that  low  comedy  was  thenceforward  deemed  his 
appropriate  sphere.  He  made  his  first  bow  in  London,  at 
the  Surrey  Theatre,  as  Peter  Smirk,  in  "The  Armistice,"  and 
afterwards  played  at  the  Adelphi,  the  Haymarket,  Drury 
Lane  and  Lyceum.  He  made  his  first  appearance  in  Amer- 
ica, at  the  Park  Theatre,  New  York,  on  the  17th  of  August, 
1840,  as  Peter  Pinkey  in  his  own  comedy  of  "Single  Life," 
and  as  Jemmy  Wheedle,  in  his  farce  of  "Weak  Points."  He 
made  an  agreeable  impression,  but  his  name  was  not  suffi- 
ciently attractive  to  fill  the  house,  and  his  next  appearance 
was  advertised  in  conjunction  with  Ellsler.  He  made  his 
first  appearance  in  Boston  at  the  National  Theatre,  under 
Pelby's  management.  In  America,  his  fame  is  more  se- 
curely based  on  his  dramatic  productions,  of  which  he  has 
contributed  to  the  stage  more  than  one  hundred  and  fifty, 
scarcely  any  of  which  have  proved  failures,  and  most  of  them 
have  had  a  long  career  of  popularity,  and  remain  among  the 
best  approved  standard  comedies,  farces  and  melodramas  of 
the  day.  He  was  for  many  years  the  lessee  and  manager  of 
the  Haymarket  Theatre,  London.  He  married  first,  Mrs. 
Fitzwilliam,  and  secondly,  Miss  Bella  Copeland,  her  cousin. 
He  died  at  Sydenham,  near  London,  October  31,  1879. 

235.  ANDERSON  (JAMES  R.)     Portrait,  as  [Hercule  in 

"Civilization."]       J.     H.    Lynch    lith.      Mayall 
Daguerreotype.     M.  &  N.  Hanhart  print. 
Lithograph  Colored. 

James  Robertson  Anderson,  born  May  8,  1811,  at  Hutchin- 
sontown,  Glasgow,  Scotland.  He  commenced  his  profes- 
sional career  when  a  baby,  and  ran  through  every  role  from 
Cora's  child  in  "Pizarro,"  to  Coriolanus,  the  Magpie  (in  the 


"Maid  and  Magpie"),  to  Macbeth,  Cordelia's  page  to  the 
brain-stricken  Lear,  Tressel  to  Richard — and  hundreds  of 
others,  from  the  first  step  on  the  ladder  to  its  topmost 
rounds.  He  made  his  first  appearance  on  the  stage  as  Cora's 
child,  at  the  Edinburgh  Theatre,  in  1813,  John  P.  Kemble 
being  the  RoUa.  After  playing  at  various  houses  in  the 
provinces,  he  made  his  first  appearance  in  London,  at  Covent 
Garden,  under  the  auspices  of  Mr.  Macready,  in  September, 
1837,  as  Florizel  in  the  "Winter's  Tale,"  in  which  he  made  a 
decided  hit,  and  in  "Coriolanus,"  he  played  Tullus  Aufidius, 
scoring  another  success,  Macready  complimenting  him  upon 
his  makeup  and  performance  of  the  part.  He  remained  at 
this  house  the  season  following,  and  then  went  starring  through 
the  provinces.  He  joined  Vestris  at  Covent  Garden  in  1839, 
playing  his  first  original  part  in  "Love,"  enacting  Huon.  In 
the  summer  he  toured  the  provinces  with  Ellen  Tree,  playing 
at  Manchester,  Birmingham,  Liverpool,  Dublin,  Cork,  &c. 
On  Sept.  7,  1840  he  was  again  at  Covent  Garden  Theatre, 
playing  the  leading  characters.  At  the  end  of  this  season  he 
was  again  playing  in  the  provinces.  In  1841,  he  was  with 
Macready  at  Drury  Lane,  and  on  the  night  of  April  6,  1842, 
he  played  Hamlet  for  the  first  time  in  London.  Speaking  of 
this  performance,  Mr.  Anderson,  in  his  memoirs,  says,  "My 
success  was  flattering,  not  brilliant.  I  was  'called  for,'  and 
received  an  'ovation,'  not  a  triumph!"  On  the  last  night  of 
the  season.  May  23,  he  took  his  first  benefit  in  London, 
enacting  The  Moor  in  "Othello."  On  the  closing  of  the 
season,  he  made  a  tour  with  Miss  Helen  Faucit,  appearing 
in  Dublin,  June  19,  1843,  as  Romeo  to  Miss  Faucit's  Juliet. 
He  joined  the  Covent  Garden  Company,  Sept.  28,  1843,  and 
business  being  poor,  he  joined  Phelps  and  Mrs.  Warner  to 
"scour  the  country  round,"  first  appearing  at  the  Theatre 
Royal,  Bath,  concluding  this  engagement  after  the  first  week. 
In  1844,  he  was  once  more  playing  in  the  provincial  theatres. 
On  the  19th  of  July,  1844,  he  signed  an  agreement  for  his 
appearance  in  America,  where  he  made  his  debut  as  Othello, 
Sept.  2,  1844,  at  the  Park  Theatre,  New  York,  when  he  met 
with  a  cordial  reception.  He  then  went  to  Philadelphia, 
opening  as  Claude  Melnotte.  He  made  his  first  appearance 
at  the  National  Theatre,  Boston,  Oct.  21,  1844,  as  Hamlet, 
playing  a  ten  nights'  engagement.  He  reappeared  at 
the  Park  Theatre,  New  York,  November  11,  opening  in 
"Hamlet."  On  the  25th  of  November,  he  opened  at  the 
Chestnut  Street  Theatre,  Philadelphia,  in  the  same  character. 
Reappeared  in  Boston,  at  the  National  Theatre,  Dec.  18, 
for  an  engagement  of  eight  nights.  Then  to  New  Orleans, 
where  he  opened  at  the  St.  Charles  Theatre,  Jan.  11,  1845,  as 
Hamlet.  Then  to  Mobile,  and  on  March  19,  he  played  a 
second  engagement  at  New  Orleans.  Then  to  New  York,  at 
the  Park  Theatre,  opening  April   14,    1845,  as  Coriolanus, 

89 


afterwards  playing  in  Philadelphia  and  Baltimore.  Com- 
menced his  farewell  engagement  at  the  Park  Theatre,  New 
York,  April  19,  as  Macbeth,  and  took  his  farewell  benefit  on 
the  30th,  as  Shylock  Returned  to  England,  and  in  the  year 
1846  made  a  tour  of  the  provinces  with  Mrs.  Warner  and  re- 
mained, playing  in  various  theatres  and  companies  until 
1853,  when  he  again  visited  the  States,  opening,  Oct.  24,  at 
the  old  Broadway  Theatre.  In  1867  he  starred  in  the  prin- 
cipal cities  of  Australia.  In  1873-4  he  was  once  again  at 
Drury  Lane,  appearing  as  Antony  in  "Antony  and  Cleo- 
patra," and  as  Richard  Cceur  de  Leon  in  Scott's  "Talisman." 
He  died  March  3,  1895,  at  his  home  in  London,  where  for 
some  jT^ears  he  had  lived  in  retirement. 

236.  LEE  (MARY  ANN,  Miss.)    Portrait,  "La  Smolenska." 

B.  W.  Thayer's  Lithogy.,  Boston. 
Lithograph  Colored. 

This  lady,  a  Philadelphian  by  birth,  made  her  first  appearance 
on  the  stage,  at  the  Chestnut  Street  Theatre,  in  her  native 
city,  Dec.  30,  1837,  as  Fatima  in  the  ballet  of  "The  Maid  of 
Cashmere."  She  made  her  debut  in  New  York,  at  the  Bowery 
Theatre,  June  12,  1839,  in  a  pas  seul  from  "La  Bayadere." 
She  toured  through  Europe,  returning  to  America  in  1845, 
and  appeared  in  the  fall  of  that  year  at  the  Howard  Atheneum, 
and  a  more  graceful  danseuse  has  rarely  been  seen  on  our 
boards.  Her  style  was  similar  to  that  of  Blangy,  and,  pos- 
sessing a  beautiful  face,  she  captivated  many  susceptible 
young  Bostonians.  On  the  night  of  a  compHmentary  benefit 
she  appeared  in  "One  Hour,  or  the  Carnival  Ball,"  and  gave 
evidence  of  the  possession  of  vocal  talent.  She  appeared 
again  in  New  York,  at  the  Park  Theatre,  April  6,  1846,  as 
the  heroine  of  a  new  ballet,  called  "La  Fleur  du  Champs." 

237.  MOWATT  (ANNA  CORA.)     Engraved  Portrait. 
Proof  before  all  letters. 

238.  MOWATT  (ANNA  CORA.)     Engraved  Portrait,  as 

Beatrice.     From  a  Daguerreotype  by  Paine. 

She  was  born  near  Bordeaux,  in  France,  the  tenth  of  seven- 
teen children,  and  when  about  8  years  old  she  came  with  her 
parents  to  America.  Until  the  age  of  fourteen  she  fre- 
quently took  part  in  private  theatricals,  the  taste  for  which 
seemed  to  have  grown  into  a  passion  with  her.  In  her  15th 
year  she  was  married  to  Mr.  Mowatt,  and  after  her  marriage, 
she  passed  several  years  of  arduous  study,  and  made  her  first 
literary  venture,  pubHshing  several  works.     After  a  time  her 

90 


health  became  impaired  from  too  close  confinement  to  liter- 
ary pursuits,  and  she  visited  Europe  for  recuperation.     After 
her  return  to  this  country  her  husband  met  with  financial 
difficulties,  and  with  a  view  to  aid  him  in  providing  support 
she    projected    and    successfully    accomplished    a    series    of 
dramatic  readings  in  Boston,   Worcester,   Providence,   New 
York,  and  other  cities  in  the  vicinity.     But  excitement  and 
labor  again  undermined  her  health,  and  for  two  years  she 
was   compelled   to  forego   all   labor   or   mental   excitement. 
Sometime  afterwards  she  wrote  under  the  nom  de  plume  of 
Helen  Berkley,  a  number  of  versatile  articles  which  obtained 
wide  popularity  in  this  country  and  were  reprinted  in  Eng- 
land, as  well  as  being  translated  and  printed  in  Germany. 
Financial    reverses    again    overtook    her   husband,    and    she 
turned  her  attention  to  dramatic  writing,  and  produced,  in 
1845,  her  comedy  entitled  "Fashion,"  which  was  produced  at 
the  Park  Theatre,  New  York,  meeting  with  flattering  success. 
Encouraged  by  this  she  determined  to  adopt  the  stage  as  a 
profession,  and  on  June  13,  1845,  she  made  her  debut  at  the 
Park  Theatre,  New  York,  as  PauHne  in  "The  Lady  of  Lyons." 
Her  success  was  complete.      She  had  actual  talent,  and  this, 
enhanced  by  her  social  prestige  and  literary  ability,  ensured 
success   from   the    start.     She    was   a   faithful,    painstaking 
artist,  and  being  possessed  of  rare  personal  beauty,  she  won 
respect  at  once  from  a  fickle  public,  who  raised  her  to  an 
exalted  position.     In  1847,  after  having  played  in  the  prin- 
cipal cities  of  this  country,  she  made  a  professional  visit  to 
London,  accompanied  by  Mr.  E.  L.  Davenport,  to  play  the 
opposite  roles  to  her.     She  made  her  first  appearance  at  the 
Theatre   Royal,    Manchester,    Dec.    7,    1847,   as   Pauline  in 
"The  Lady  of  Lyons,"  and  her  first  appearance  in  London, 
at  the   Princess's   Theatre,   in    "The    Hunchback,"   Jan.    5, 
1848,  and  made  an  extended  tour  through  the  provinces. 
In  the  year  1851,  her  husband,  who  had  accompanied  her, 
died,  and  she  returned  to  America  and  renewed  her  stage 
triumphs.     On  the  30th  of  November,  1845,  she  made  her 
first  appearance  as  an  actress,  at  the  Howard  Atheneum,  as 
Pauline  in  "The  Lady  of  Lyons,"  and  gave  her  first  reading 
in  Boston,  at  the  Masonic  Hall,  Oct.  28,  1841.     At  her  fare- 
well benefit  in  this  city  the  seats  were  sold  at  public  auction, 
and  the  premiums  netted  more  than  the  house  would  hold 
at  ordinary  prices.     In  June,    1854,  after  a  career  of  nine 
years,  she  bade  farewell  to  the  stage  at  Niblo's  Garden,  New 
York,   the  occasion  being  a  grand  complimentary  benefit, 
the  names  appended  to  the  call  being  those  most  eminent 
in  art,  literature,  science,  business  and  society.     Three  days 
after  she  was  married  to  William  F.   Ritchie  of  Virginia. 
During  her  career  she  gave  lustre  to  the  profession  and  proof 
that  the  stage  might  be  an  honorable  position  to  exert  good 
influences   and    proper    teachings    on    any    within    woman's 

91 


sphere.  She  died  at  Twickenham,  near  London,  Eng.,  on 
Friday,  July  29,  1870.  She  had  been  ill  for  some  time,  unable 
to  cross  the  Atlantic,  although  she  earnestly  desired  to  do  so. 
Her  disease,  with  which  she  had  been  afflicted  more  or  less 
from  childhood,  was  bronchial  consumption. 

239.  PLAYBILL.   Boston  Theatre,  Federal  Street.   Opening 

Night,  Aug.  24,  1846.  The  opening  address 
WILL  be  spoken  by  Mr.  GILBERT.  The  comedy  in  5 
acts.  Speed  the  Plough,  and  The  Irish  Lion. 
Tim  Moore  —  Mr.  Brougham  (who  is  engaged  for 
the  season.) 

240.  WARREN    (WILLIAM.)     Engraved  Portrait.    Bust. 

Engraved  by  H.  B.  McLellan,  Boston. 
Autographed  Presentation  Copy  from  William  Warren. 

241.  WARREN  (WILLIAM.)     Portrait.     Photograph. 
The  Rarest  portrait  known  of  him. 

242.  WARREN  (WILLIAM.)  Engraved  Portrait.  Vignette. 

S.  Holly er  sc.     Facsimile  autograph. 

William  Warren,  Boston's  favorite  comedian,  was  born  in 
Philadelphia,  Nov.  17,  1812.  He  made  his  first  appearance 
upon  the  stage,  as  Young  Nerval  in  "Douglas,"  at  the  Arch 
Street  Theatre,  Philadelphia,  Oct.  27,  1832,  meeting  with 
such  encouragement  that  he  decided  to  become  a  professional 
actor.  He  was  at  the  Pittsburg,  Pa.,  Theatre,  Sept.  2,  1833. 
The  next  season  he  was  touring  the  West,  in  a  company  man- 
aged by  the  second  Joseph  Jefferson,  playing  a  varied  range 
of  characters.  He  probably  first  directed  his  attention  to  low 
comedy  while  at  the  Walnut  Street  Theatre,  Philadelphia, 
where  he  was  engaged  for  several  seasons  prior  to  1841,  be- 
cause when  he  appeared  at  the  old  Park  Theatre,  New  York, 
for  one  night  only,  April  14  of  that  year,  he  played  Gregory 
Grizzle  in  "My  Young  Wife  and  Old  Umbrella."  In  the  fall 
of  1841,  he  was  at  the  Amphitheatre,  Albany,  N.  Y.,  and 
again  in  that  city  in  1843,  when  J.  B.  Rice  assumed  the 
management  of  the  Museum,  Nov.  27.  In  the  meantime  he 
had  played  in  Buflfalo  and  other  western  cities.  In  1845,  he 
visited  Europe,  and  while  in  London,  he  played  at  a  benefit 
in  the  Strand  Theatre,  acting  Con  Gormley  in  "The  Ver- 
monter."  He  returned  to  America  in  the  following  summer, 
and  after  playing  a  short  time  in  Albany,  took  a  farewell 
benefit  July  31.     He  was  engaged  at  the  Howard  Athenaeum, 

92 


when  that  theatre  was  first  opened  for  the  season,  Oct.  5,  1846, 
playing  Sir  Lucius  O'Trigger,  in  "The  Rivals,"  this  being  his 
first  appearance  upon  the  stage  in  this  city.  The  season 
closed  Feb.  27,  1847.  Mr.  Warren  was  engaged  for  the 
Boston  Museum,  and  made  his  first  appearance  on  that 
stage  as  Billy  Lackaday  in  "Sweethearts  and  Wives,"  and  as 
Gregory  Grizzle.  He  grew  to  be  a  great  local  favorite,  and 
was  thereafter  continuously  connected  with  the  Museum  up 
to  the  time  of  his  death,  with  the  exception  of  the  season  of 
1864-5,  when  in  company  with  Josephine  Orton,  Charles 
Barron  and  others,  he  made  a  tour  of  the  country  under  the 
management  of  Henry  C.  Jarrett,  the  troupe  being  known 
as  the  Warren-Orton  Combination.  On  his  return  to  the 
Museum,  he  opened  in  Dr.  Pangloss  in  "The  Heir  at  Law," 
and  was  most  enthusiastically  received.  On  Oct.  28,  1882, 
he  commemorated  his  fiftieth  anniversary  upon  the  stage, 
when  a  grand  all  daj^  benefit  was  tendered  to  him  at  the 
Boston  Museum.  He  appeared  as  Dr.  Pangloss,  at  the 
matinee,  and  as  Sir  Peter  in  "School  for  Scandal,"  at  the 
evening  performance.  Several  of  his  fellow  players  sent  him 
a  loving  cup  of  silver  and  gold.  Rhea  presented  him  with  a 
laurel  wreath,  and  the  Boston  Theatre  Company  gave  him  a 
costly  silver  vase.  On  Nov.  17  that  year,  Mr.  Warren's  70th 
birthday,  he  was  presented  by  his  associates  at  the  Museum 
with  a  solid  silver  salad  bowl.  That  was  his  last  season  at 
the  Museum  and  his  final  appearance  in  public.  His  re- 
maining years  were  passed  in  retirement.  In  Boston  he  was 
idolized  by  lovers  of  the  drama  as  much  as  John  Gilbert  was  in 
New  York.  He  was  a  man  of  much  culture  and  delightful 
personal  traits.  He  was  never  married.  He  died  Sept.  21, 
1888,  at  his  home  in  Boston,  after  an  illness  of  twelve  weeks. 
The  funeral  occurred  on  the  24th,  the  services  at  Trinity 
Chapel,  when  the  edifice  was  filled  to  overflowing  by  his 
many  friends.  The  services  were  held  at  noon,  and  for 
hours  before  the  doors  were  opened  the  florists  of  the  city  were 
busy  arranging  the  beautiful  tributes  that  came  pouring  in 
from  the  actors  of  England  and  America,  sent  by  the  leading 
actors  of  the  two  countries. 


243.  DEAN  (JULIA.)     Portrait.     Bust.     F.  Davignon. 
Lithograph.     Colored  by  hand. 

244.  DEAN  (JULIA.)  Portrait,  as  JuLiAin the  "Hunchback." 
V.  M.  Water  Color  drawing. 

Julia  Dean  Hayne  Cooper  was  born  in  Pleasant  Valley,  N.  Y., 
July  22,  1830.  Her  mother  was  the  well  known  western 
actress,  Mrs.  Drake,  who,  at  the  time  of  her  marriage  with 

93 


Mr.  Dean,  was  the  widow  of  Fosdick.  In  her  eleventh  year 
she  joined  the  family  of  her  father,  who  was  then  the  manager 
of  Buffalo  and  Rochester  theatres.  Becoming  infatuated  with 
the  stage,  Miss  Dean  at  length  prevailed  upon  her  father  to 
allow  her  to  appear  as  Lady  Ellen  in  "The  Lady  of  the  Lake." 
Her  success  was  triumphant,  and  there  was  no  doubt  of  her 
ability.  It  was  in  Louisville,  Ky.,  that  she  took  her  first  and 
decided  stand.  At  the  close  of  the  theatrical  season,  she 
accepted  an  engagement  at  the  Bowery  Theatre,  New  York, 
making  her  debut  there  as  Julia  in  "The  Hunchback,"  May 
18,  1845,  and  for  thirteen  nights  filled  the  immense  theatre 
to  overflowing.  On  the  26th  of  October,  1846,  she  made  her 
debut  in  Boston  at  the  National  Theatre,  as  Juliet.  The 
counter  attractions  appearing  against  her  were  Mrs.  Mowatt, 
Madame  Augusta,  George  Vandenhoff  and  Davenport,  at 
the  Howard,  and  Mr.  and  Mrs.  Kean  at  the  Boston  Theatre. 
She  married  Dr.  Hayne,  of  Charleston,  S.  C,  Jan.  20,  1855. 
On  May  20,  1856,  she  went  to  California,  where  her  success 
was  triumphant;  returned  East  in  Feb.,  1858.  Her  proud- 
est professional  moment  was  in  Charleston,  during  the  con- 
vention of  1860,  when  she  played  in  "Lucretia  Borgia,"  for 
the  benefit  of  the  Catholic  Orphan  Asylum.  Few  houses 
have  ever  been  filled  with  an  audience  numbering  so  many 
celebrities.  For  several  years  after  her  debut  she  proved  a 
powerful  attraction  at  the  Astof  Place  Opera  House,  the 
Broadway  Theatre  and  at  Niblo's  Garden.     In  September, 

1866,  she  was  divorced  from  Hayne  in  the  Salt  Lake  City 
courts,  on  the  ground  of  failure  to  support  her.  She  was  then 
married  to  James  Cooper  of  New  York.  Her  last  appear- 
ance in  New  York  was  at  the  Broadway  Theatre,  in  October, 

1867,  as  Ann  Catherick,  in  "The  Woman  in  White."  When 
Julia  Dean  appeared  in  New  York  as  Julia  her  equal  in  that 
character  had  never  been  seen,  and  her  rendering  of  it  when 
she  exclaims  to  Clifford,  "Do  it,  nor  leave  the  task  to  me!" 
was  made  the  subject  of  an  engraving.  As  an  actress  her 
merit  was  undoubted.  Her  conception  of  a  character  quick 
and  correct;  her  development  of  it  always  marked  by  in- 
telligence, discrimination  and  good  taste.  Her  elocution  was 
graceful,  and  her  action  subdued,  but  expressive.  She  died 
at  the  residence  of  her  father-in-law,  231  East  Thirty- ninth 
Street,  New  York  City,  March  6,  1868,  in  childbirth. 

245.     COLLINS    (JOHN.)     Portrait,    as    Paul    Clifford. 
Drawn  from  Nature  and  on  stone  by  W.  Sharp.     Pubd. 
by  J.  Dickinson,  1836. 
Lithograph. 

Was  born  at  Lucan,  near  Dublin,  Ireland,  in  1811.  He  made 
his  debut  in  London,  England,  as  Macheath  in  "The  Beggar's 

94 


Opera,"  gaining  a  musical  reputation  in  advance  of  the 
Hibernian  dramatic.  As  a  singer  of  Irish  ballads  he  has 
scarcely  been  matched  on  our  stage,  and  in  the  gentlemen  of 
his  nation  or  as  the  representative  of  dashing  impudence  and 
reckless  assurance,  ranks  far  above  any  modern  competitor. 
He  reappeared  in  London,  at  the  Adelphi  Theatre,  Oct.  3, 
1864,  after  an  absence  of  eighteen  years,  and  visited  Australia 
in  1866.  He  made  his  first  appearance  in  America,  at  the 
Park  Theatre,  New  York,  acting  in  "The  Nervous  Man" 
and  "Teddy  the  Tiler."  He  made  a  pronounced  hit,  and  was 
considered  a  worthy  successor  of  Tyrone  Power.  In  the 
spring  of  1863,  he  opened  at  Niblo's  Garden,  New  York, 
acting  Carrickfergus  in  "The  Duke's  Motto."  He  was  for 
many  years  a  highly  popular  and  attractive  star,  and  by  his 
professional  labors  he  accumulated  a  fortune,  the  most  of 
which  he  subsequently  lost  by  unfortunate  business  specula- 
tions. He  made  his  first  appearance  in  Boston,  at  the 
Howard  Athenaeum,  Nov.  9,  1846,  as  McShane  in  "The 
Nervous  Man,"  and  Teddy  in  "Teddy  the  Tiler."  He  died 
Aug.  13,  1874,  in  Philadelphia,  after  a  long  and  painful  ill- 
ness. His  age  had  never  been  correctly  given  to  the  public. 
It  was  reported  at  the  time  of  his  demise,  he  was  in  his  sixty- 
third  year,  but  it  is  thought  that  he  was  at  least  ten  years 
older. 

246.  HARVEST    DANCE,    The,    by    the    Vienna    Children. 

Portraits.     Group.     Lith.    &   Pub.   by  N.    Currier, 
N.  Y.,  1847. 
Lithograph.     Oblong. 

The  Viennoise  Dancers,  a  celebrated  Juvenile  troupe,  forty- 
eight  in  number,  under  the  direction  of  Madame  Josephine 
Weiss,  from  the  Imperial  Theatre,  Vienna,  made  their  first 
appearance  in  America,  Monday,  Dec.  4,  1846,  at  the  Park 
Theatre,  New  York,  when,  by  their  grace,  precision,  and  ap- 
parent artlessness,  created  a  profound  impression,  and  for 
thirty  nights  attracted  large  and  delighted  audiences.  They 
made  their  first  appearance  in  Boston,  on  the  11th  of  January, 
1847,  at  the  Howard  Athenaeum,  and  continued  till  the  close 
of  the  season,  filling  the  treasury  beyond  the  receipts  of  any 
attraction  since  offered. 

247.  PERELLI  (NATALE.)     Portrait.     Drawn  on  stone  by 

F.    Davignon.      From    Daguerreotype    by    P.    Haas. 
Facsimile  autograph. 
Lithograph. 

Made  his  first  appearance  in  Boston,  at  the  Howard 
Athenaeum,   April   23,    1847,  as   Ernani  in  the  opera  of  that 

95 


name.  His  pure,  flexible  and  expressive  voice  made  him  famous. 
He  first  appeared  in  Philadelphia,  at  the  Walnut  Street 
Theatre,  July  27,  1847,  and  afterwards  taught  singing  there. 
During  Jenny  Lind's  visit  to  this  country,  he  accompanied 
her,  as  principal  tenor,  to  New  York,  Boston,  Baltimore,  etc. 
He  died  in  Philadelphia,  Feb.  28,  1867. 

248.  TEDESCO  (FORTUNATA.)     Portrait.     Pubd.  by  J. 

Ollie,  N.  Y. 
Lithograph.     Music  Sheet. 

249.  TEDESCO     (FORTUNATA.)      Portrait.      Lemercier, 

Paris.     Pubd.  by  Brandies. 
Lithograph. 

Made  her  first  appearance  on  the  New  York  stage  at  the  Park 
Theatre,  April  15,  1847,  as  Elvira  in  "Ernani,"  when  the  opera 
was  presented  for  the  first  time  in  this  country.  Appeared  as 
Norma,  at  the  Walnut  Street  Theatre,  Philadelphia,  July  30, 
1847.  Made  her  first  appearance  in  Boston,  on  the  23rd  of 
April,  1847,  at  the  Howard  Athenaeum,  when  Boston  first 
recognized  genuine  Italian  opera  in  the  performance  of 
Verdi's  "Ernani."  In  this  debut  of  a  new  composer  and  first 
bearing  of  Italian  opera,  all  the  essentials  to  a  great  success 
were  found,  and  it  would  be  difficult  to  decide  whether  Verdi, 
the  orchestra  and  chorus,  or  the  principal  singers,  received 
the  majority  of  votes  from  a  public  well-nigh  frenzied  with 
delight.  The  remarkable  personal  beauty  of  Tedesco,  and 
her  rich,  voluptuous,  and  easily  produced  volume  of  voice, 
probably  excited  more  enthusiasm  than  any  other  item  of  this 
grand  tableau.  The  delicious  quality  of  her  voice,  its  grace- 
ful production,  and  the  flood  of  melody  she  could  pour  out  in 
all  the  ease  and  freedom  of  a  mocking-bird,  overcame  even 
Puritan  reserve,  and  the  admiration  she  excited  was  intense. 
The  pecuniary  result  of  this  first  season  was  a  net  profit  of 
$12,000  and  the  honors  paid  to  Fortunata  Tedesco  attained 
their  greatest  success  in  the  casting  at  her  feet  of  a  warm 
admirer's  hat  and  cane,  in  token  of  his  own  entire  prostration. 

250.  CRUISE  (ANNA.)     Portrait.     Bust. 
Process  Print. 

She  was  born  in  Belfast,  Ireland,  April  3,  1824.  Made  her 
debut  when  thirteen  years  old,  at  Glasgow,  as  a  vocalist.  In 
April,  1846,  she  was  married  to  William  Cowell,  who  died  in 
Philadelphia,  in  February,  1868.  She  visited  America  in 
1846,  with  her  husband,  and  made  her  first  appearance  in 
New  York,  at  the  Chatham  Theatre,  as  Rosalind  (and  later 

96 


at  the  Olympic)  in  "As  You  Like  It."  June  29,  1846.  She 
made  her  first  appearance  in  Boston,  at  the  National  Theatre, 
Aug.  16,  1847,  in  the  same  character,  and  sang  the  Cuckoo 
Song  and  gave  the  original  epilogue  to  the  play. 

251.  BISHOP    (ANNA.)     Portrait.     Facsimile    autograph. 

On  stone  by  F.  Davignon.     Print,  by  C.  Currier,  1847. 
Lithograph. 

252.  BISHOP  (ANNA,  Madame.)     Portrait.     On  stone  by 

P.  Kramer.     P.  S.  Duval's  lith.  press  Phila. 
Lithograph. 

253.  BISHOP  (ANNA,  Madame.)     Portrait  in  Character 

singing  "Ah   Wherefore  Flee  so   Rapidly."      On 
stone  by  P.  Kramer.     P.  S.  Duval,  lith. 
Lithograph.     Music  Sheet. 

254.  BISHOP   (ANNA,   Madame.)     Portrait,   as   Madame 

Carrillon    in    La    Sfogato.     M.    Schmitz,    from   a 
Daguerreotype  by  McClees  &  Germon,  Philadelphia. 
Lithograph  Colored. 

She  was  born  in  London,  England,  in  1816.  Made  her  debut 
in  public  in  concert  July  5,  1839,  at  the  Italian  Opera  House, 
London.  In  1840,  she  visited  Copenhagen,  Stockholm,  the 
Swedish  Provinces,  and  St.  Petersburgh.  In  1843  she  went 
to  Italy  with  Bochsa  for  her  musical  director,  closing  in 
Naples  in  1845,  and  on  the  4th  of  August,  1847,  she  made  her 
debut  in  America,  at  the  Park  Theatre,  New  York,  as  Linda  in 
"Linda  di  Chamounix."  This  remarkable  woman,  at  this 
time  charming  alike  by  her  loveliness  of  person  and  fascina- 
tion of  manner,  commanded  the  homage  of  brilliant  audiences. 
Beyond  all  cavil,  the  finest  acting  English  vocalist  who  has 
trod  our  boards.  Anna  Bishop,  nee  Riviere,  was  the  second 
wife  of  Henry  R.  Bishop,  the  celebrated  English  composer. 
She  has  visited  and  sung  in  almost  every  corner  of  the  Amer- 
ican continent  and  the  still  more  remote  regions  of  Australia 
and  the  Chinese  Empire.  She  was  a  most  accomplished 
linguist,  and  had  the  repute  of  being  able  to  sing  in  the  ver- 
nacular of  every  European  capital.  She  made  her  first  ap- 
pearance in  opera  before  a  Boston  audience,  Aug.  26,  1847, 
at  the  Howard  Athenaeum,  in  scenes  from  Balfe's  "Maid  of 
Artois,"  and  followed  up  that  success  by  scenes  from  "The 
Barber  of  Seville,"  "Linda  of  Chamounix,"  "Tancredi," 
"La  Sonnambula,"  "The  Love  Spell,"  and  "Anna  Bolena." 

97 


Her  greatest  success  then  was  undoubtedly  in  the  recitative 
and  aria  from  "Tancredi,"  which  in  her  noble  bearing,  heroic 
stage  presence,  and  superb  delivery  of  either  recitation  or 
air,  commanded  universal  admiration.  At  a  subsequent 
period  she  appeared  in  costume  at  the  Melodeon  and  Tremont 
Temple,  exciting  both  wonder  and  enthusiastic  applause  by 
her  admirable  personation  of  Othello  and  Desdemona.  She 
died  in  New  York  City,  March  18,  1884. 

255.     BISCACCIANTI     (ELISE     OSTINELLI.)      Portrait. 
Lith.  of  Sarony  &  Major,  N.  Y. 
Lithograph. 

Elise  Ostinelli  made  her  first  appearance  upon  the  Boston 
stage,  at  the  Howard  Athenaeum,  Jan.  5,  1848,  as  Amina  in 
"La  Sonnambula."  She  was  extremely  agitated  during  the 
whole  performance,  and  not  being  able  to  control  her  voice, 
disappointed  expectations  wrought  to  a  high  pitch  by  New 
York  eulogiums.  Nature  had  been  prodigal  in  gifts  of  voice, 
but  a  slight  and  extremely  nervous  frame  often  refused  to 
sustain  her  through  an  opera.  She  then  betrayed  an  impurity 
of  intonation  which,  in  contrast  with  the  Italian  vocalists  so 
recently  here,  chilled  enthusiasm,  and  required  all  the  efforts 
of  her  especial  friends  to  excuse  and  cover  up  by  applause. 
This  friendly  reception  as  the  American  prima  donna  and 
her  first  show  upon  the  Italian  lyric  stage  in  Boston,  gave  her 
confidence,  and  her  second  appearance  was  a  genuine  tri- 
umph, so  far  as  a  very  petite  figure  could  be  converted  into  a 
good  stage  presence  by  the  charm  of  a  fine  voice  under  good 
control,  and  its  capability  of  wonders  in  vocalization.  After 
"La  Sonnambula"  had  exhausted  its  attraction,  she  appeared 
in  "Lucia  di  Lammermoor,"  with  great  success,  her  flexibility 
and  beauty  of  voice  having  free  scope  in  the  cavatina  and 
rondo,  and  her  union  of  good  acting  with  a  brilliancy  and 
ease  of  vocalization  rarely  equalled  in  the  mad  scene,  taking 
captive  even  the  most  exacting  dilletanti,  who  freshly  re- 
membered Persiani  and  Jenny  Lind  in  that  character.  She 
accomplished  this  mastery  of  all  difficulties  with  indifferent 
support;  and  not  until  the  last  night  of  the  opera,  when 
Benedetti  and  Beneventano  appeared  in  aid,  was  her  full 
display  of  extraordinary  vocal  and  histrionic  powers  mani- 
fested here.  She  was  at  subsequent  periods,  highly  success- 
ful in  concerts  at  the  Melodeon  and  Tremont  Temple.  She 
then  visited  Europe  for  improvement  of  style  and  method, 
returning  to  give  concerts  in  New  York  and  Boston.  She 
was  the  daughter  of  Luigi  Ostinelli,  the  leader  of  the  orchestra 
at  the  Tremont  Theatre,  in  1827.  She  made  her  first  appear- 
ance on  the  stage  in  New  York,  at  the  Astor  Place  Opera 
House,  Dec.  8    1847,  as  Amina  in  "La  Sonnambula." 

98 


256.  BENEDETTI  (SESTO.)    Portrait.    Hoffmann  Lithogs. 

Print,  by  Nagel  &  Weingartner,  N.  Y. 
Lithograph. 

Made  his  first  appearance  in  "Lucia  di  Lammermoor,"  on 
the  last  night  of  its  presentation,  in  January,  1848,  at  the 
Howard  Athenaeum,  Boston.  A  furore  in  anticipation  of  a 
great  performance,  and  Benedetti's  first  appearance,  raised 
$400  of  premiums  from  the  sale  of  tickets  for  that  night,  and 
the  excitement  of  the  audience  brought  out  an  enthusiasm  in 
the  performers  seldom  witnessed  upon  the  lyric  stage.  In 
the  month  of  May,  he  appeared  as  Genaro  in  "Lucrezia 
Borgia,"  when  his  glorious  voice  swept  away  the  remembrance 
of  all  other  tenors.  In  May,  1850,  he  married  Teresa  Truffi, 
at  Boston.  Made  his  first  appearance  in  New  York  at 
Palmo's  Opera  House,  as  Viscount  di  Sirval  in  "Linda  di 
Chamounix,"  on  its  first  presentation  in  this  country.  Jan, 
4,  1847. 

257.  BENEVENTANO  (G.  F.)     Portrait.     Drawn  on  stone 

by  F.  Davignon.     From  Daguerreotype  by  P.  Haas. 
Lithograph. 

Made  his  first  appearance  in  New  York,  Jan.  4,  1847,  at 
Palmo's  Opera  House,  as  Anthony  in  "Linda  di  Chamounix." 
This  famous  basso  was  received  with  great  approbation,  but 
his  powerful  organ  soon  exhibited  more  force  than  cultiva- 
tion, and  he  grew  rough  and  careless  in  its  use,  and  finally 
fell  oflf  in  reputation.  He  made  his  first  appearance  in  Boston 
at  the  Howard  Athenaeum,  in  January,  1848. 

258.  TRUFFI   (TERESA.)     Portrait.     Lith.   by   Sarony   & 

Major,  N.  Y.     Drawn  by  N.  Sarony. 
Lithograph. 

Teresa  Truffi  made  her  first  appearance  in  Boston,  at  the 
Howard  Athenaeum,  May  31st,  1848,  as  the  Duchess  in 
"Lucrezia  Borgia,"  captivating  her  audience  by  the  charms 
of  an  elegant  person,  a  graceful,  expressive  action,  and  a  rich 
well-managed  mezzo  soprano  voice.  She  made  her  first 
appearance  at  the  Astor  Place  Opera  House,  New  York,  Nov. 
22,  1847,  at  the  opening  of  this  theatre,  when  she  appeared 
as  Elvira  in  "Ernani." 


259.     CHANFRAU    (F.    S.)     Engraved    Portrait    in  ovaL 
Engd.  by  T.  Bonar.     Facsimile  Autograph. 
99 


260.  CHANFRAU  (F.  S.)     Portrait. 
Photograph  Colored. 

261.  CHANFRAU   (F.   S.)     Portrait,  in  the  Character  of 

"MosE."     James  Brown  del  1848.     Lith.  &  Pubd.  by 
E.  &  J.  Brown,  N.  Y. 
Lithograph. 

262.  CHANFRAU    (F.    S.)     Portrait,    as    Mose    in    Fire 

Scene. 
Lithograph  Colored. 

263.  CHANFRAU  (F.  S.)     Portrait,  as  Sam.     Lith.  Chas. 

Hart,  N.  Y. 
Lithograph  Colored. 

F.  S.  Chanfrau  was  born  in  New  York  City,  Feb.  22,  1824. 
After  receiving  a  respectable  English  education,  he  became  a 
ship-carpenter  and  joiner,  and  for  a  time  worked  diligently 
at  his  trade.  Becoming  addicted  to  private  theatricals,  he 
at  length  found  his  way  to  the  stage  of  the  Bowery  as  a  super- 
numerary, and  there  attracted  notice  by  the  excellence  of  his 
imitations  of  Forrest  and  other  Thespian  celebrities.  He 
afterward  went  the  rounds  of  the  New  York  theatres,  gaining 
experience  and  reputation  in  a  very  diversified  range  of  char- 
acters, until  at  Mitchell's  Olympic  Theatre,  New  York,  on 
the  15th  of  February,  1848,  his  personation  of  the  soaplock 
fireman  Mose  in  Baker's  sketch,  called  "A  Glance  at  New 
York,"  was  attended  with  such  unbounded  eclat,  that  it  re- 
sounded far  and  wide,  and  carried  him  as  a  star  triumphantly 
through  every  theatrical  town  in  the  Union.  On  the  23rd  of 
July,  1858,  he  married  Miss  Henrietta  Baker,  at  Cincinnati, 
whom  he  introduced  to  his  New  York  friends,  at  Wallack's 
Theatre,  on  the  30th  of  August  following,  as  Jane  Chatterly, 
in  the  farce  of  the  "Widow's  Victim."  In  the  fall  of  and 
winter  of  1865,  he  fulfilled  an  engagement  of  thirteen  weeks 
at  Wood's  Broadway  Theatre,  New  York,  during  which  he 
attracted  crowded  houses  to  witness  his  ludicrous  assumption 
of  Sam  in  the  comedy  of  that  name,  by  De  Walden,  which 
he  presented  consecutively  over  one  hundred  times.  We 
find  him  at  the  National  Theatre,  Boston,  on  June  12,  1848, 
when  he  presented  Mose  in  a  "Glance  at  New  York  in  1848," 
and  as  Mose  in  "New  York  as  it  is,"  on  the  19th  of  June,  when 
it  was  given  for  the  first  time  in  Boston.  His  benefit  took 
place,  June  23,  when  he  played  Jeremiah  Clip,  Tinsel  John, 
Moustache  Strappado,  in  the  "Stage-Struck  Barber";  also 

100 


giving  his  Imitations  of  Celebrated  Actors,  and  playing  Mose 
in  "New  York  As  It  Is!"  He  was  at  the  Howard  Athenaeum, 
in  November,  1849,  enacting  Mose  in  "Mose  in  California"; 
Jerry  Clip  in  "The  Widow's  Victim";  Mose  in  "Mysteries 
and  Miseries  of  New  York";  Bonifoni  in  "The  Model  of  a 
Wife, "etc.  He  presented  "Kit"  for  the  first  time  in  Boston 
at  the  Boston  Theatre,  Feb.  14,  1870,  a  play  long  identified 
with  the  Boston  Theatre,  though  it  did  not  make  a  great  stir 
at  the  start.  His  appearance  and  manners  were  those  of  a 
well-bred  gentleman,  and  his  private  life  and  character  were 
such  as  to  entitle  him  to  the  highest  respect.  He  died  in  his 
room  at  Taylor's  Hotel,  Jersey  City,  from  apoplexy,  in  1885, 
and  was  buried  at  Long  Branch,  N.  J. 


101 


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